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THOMAS BEDDING 



Some men are born Editors ; some achieve Editorship ; others 
have Editorships thrust upon them. 1 come under the first heading. 
I was, I verily believe, predestined to edit "The Implet:" and I 
write the plain sober truth when I say that I never entered an 
Editorial chair with greater pleasure or greater persuasion of success 
than when on January 1 st, 1912,1 took my seat in the piece of 
furniture at No. 1 02 West 1 1 st Street, New York, from which I 
date this first Editorial. 

Someone has suggested that I should print a brief sketch of 
my moving picture career. Well : I wrote a history of animated 
photography in The British Journal Photographic Almanac of 
I 898 — fourteen years ago. Somebody has also said that this treatise 
might have been written yesterday ; it reads so freshly and up-to-date. 
In England I helped to make and develop many a moving picture. 
In 1 908, circumstances and a desire to get closer to the practical 
end of picture making in the United States, took me into the 
Cameraphone Company's studio and factory at Eleventh Avenue, 
New York City. 






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From January 1909 till April 1911 my pen was busy in the pages of "The Moving Picture World." 
And then the inevitable happened, as the inevitable must, does and will. A personal friendship with Mr. Carl 
Laemmle led to my realization of an ambition to take an active part in the business of moving picture making 
and " The Implet " thus becomes the weekly expression of my ideas on the subject. 

This is quite enough about myself. If you want to know more, go and look up my record in the 
library. But being a person of sense you won't trouble your head about any such thing: you'll judge me by my 
work in this paper. And that's all I want, all that I have a right to expect. 

" The Implet," then, while necessarily guarding the interests of The Imp Films Company will not be 
narrowed in scope, like most house organs. It will address all exhibitors, manufacturers and the general public 
throughout the world. 

It will be bright, newsy, informative, progressive, snappy, unconventional — it will be different from 
anything and everything else. It will be unique and inimitable. 



'V, 



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Reader, whoever you are and wherever you are, I desire and invite your co-operation 
" The Implet " the most attractive moving picture publication in existence. 



iking 









\jnM>y^J0L^ VA>£< 






January 1912 




s- 31 ^ 



THE "IMPLET" 






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Qtt)t "3mplti 

THE MOVING PICTURE NEWSPAPER 

Edited by THOMAS BEDDING 



Published at 102 West 101st Street, New York 



SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY, 5 CENTS 



CARL LAEMMLE, 
President of the Imp Films Co. 

An Appreciation. 

In the Gallery of Imp Pen and Photo- 
graphic Portraits starting with this, the first 
number of "THE IMPLEX," Mr. Carl 
Laemmle properly takes precedence 

I shall not give a conventional biography 
of Mr. Laemmle, but rather an impression, 
derived from the opportunity which I have 
had, of placing him in his right position in the 
moving picture business of the world. 

Carl Laemmle has achieved international 
renown not merely as a successful exhibitor, 
and renter, but in respect of one outstanding 
achievement. Whatever success (and it is a 
large success) may be ascribed to the Indepen- 
dent Side of the moving picture business of the 
L'nited States is directly traceable to the efforts 
of Carl Laemmle. Without him, without his 
strenuous support and example, without his 
Imp Company and his Pictures, the Inde- 
pendent Side of the business would not have 
been in its present fine state of organization 
and success. 

Every Independent exhibitor, every In- 
dependent exchange, every Independent man- 
ufacturer throughout the United States owes 
Mr. Laemmle a personal debt of gratitude for 
his unswerving championship of the Independ- 
ent Side in the moving picture business. 

That is a positive compliment. The nega- 
tive compliment to Mr. Laemmle is that by 
the licensed side of the business no man on 























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CARL LAEMMLE 



the Independent Side is more dreaded and re- 
spected than Carl Laemmle. 

Personally, Mr. Laemmle is popular with 
all whom he meets; he is young (being only 
45); is married; has three children; and, in 



my opinion, has only just commenced a career, 
which has the most wonderful prospects of 
ever increasing success in front of it. 

For he is a man of great mind, head, and 
heart. T. B. 



The Greatest Dam in the World 

(The Imp's Great Industrial Release of January 22, 1912.) 

The following article, descriptive of the 
taking of the Imp's industrial masterpiece, 
"The Greatest Dam in the World," recently 
appeared in The New York Morning Tele- 
graph : 

An educational and industrial film of un- 
usual interest will be made from pictures tak- 
en here last week of the great work of har- 
nessing the Mississippi River. The dam now 
being constructed, extending across the river 
at this point, will be the greatest in the world, 
and also the longest monolithic concrete struc- 
ture. The electrical installation is the largest, 
the water plant the most gigantic, and the 
power to be developed will be the biggest on 
earth. 

In taking the pictures the man with the 
moving picture camera pointing at every part 
of the half-mile of workc on the Illinois side 
of the Mississippi River ana ot the 35 acres 
of Titanic workshop on the Iowa side, where 
the immense power house is building, rode on 
a flat car on the railroads in the works, was 
carried high to the top of the great traveling 
cranes in a concrete bucket, climbed down into 
chasms cut into the bed rock of the continent, 
and got into all sorts of acrobatic positions in 
order to get views of every phase of the tre- 
mendous activities in the building of the great- 
est water power in the world. 

The camera recorded the concrete mixers, 
a battery suggesting civil war mortars, re- 
volving and pouring out concrete by the cubic 

Scene from "The Greatest Dam in the World" : SPILLWAY FROM DOWN STREAM yard. 





BUILDING THE GREATEST DAM 

IN THE WORLD 

A splendid series of pictures showing the vast engineering 

operations incidental to the construction of the largest 

water plant in the world at Keokuk, Iowa 

Copyright 1912 by Imp Films Company 





THE greatest dam in the world is being constructed across the Mississippi ] River at Keokuk, Iowa; 
and this picture illustrates some of the gigantic operations rendered necessary, such as mixing 
concrete at the rate of 1500 cubic yards a day; crushing rock for concrete; inclined railway 
carrying material; the great cantilever traveling cranes; excavating the bed rock of the river; sawing 
a channel in the bed rock of the American Continent; making a new lock in some respects larger than 
any at Panama; and many other huge constructional operations in actual progress. 

A magnificent picture illustrative of the progress of a great piece of engineering work and 
showing the vast machinery in operation. 

Released on January 22, 1912. 

IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



2^£f imps 
'EVERY WEEK, 



THE "IMPLET" 



Imp Players: No. 1. KING BAGGOT 




KING BAGGOT. 



If a vote were taken as to who was the 
most popular moving picture actor in the 
world, I do not hesitate to say that King Bag- 
got would be the winner. On the screen he 
is, of course, known to millions, admired by 
millions, appreciated by millions. 

And if ever a man deserved his popularity, 
Baggot is that man. He has worked hard 
and loyally in the Imp pictures for two years 
—and the splendid quality of his work as an 
impersonator of a long list of widely diversi- 
fied types of characters is universally admit- 
ted. As a manly hero, with the bearing of a 
chivalrous gentleman, Baggot is unsurpassed 
in the moving picture field to-day. 

Before he joined the Imp Company Bag- 
got had had considerable stage experience, and 
carries the technique of the theatre at his 
finger tips. But he is essentially a product 
of the moving picture stage ; he is untheatri- 
cal, he is natural, he is spontaneous in all that 
he undertakes. 

Now, what is Baggot like in real life? 
Millions of moving picture theatre-goers in 
all parts of the world want to know this, I'm 

sure. 

Well, he is just as nice in real life as he 
looks on the screen. He has a most lovable 
disposition, a generous Celtic temperament, 
the manners of a well-bred gentleman — in 
short, he is a prince of good fellows, modest 
and good natured. 

We of the Imperies just love Baggot ; and 
when this publication was decided upon it was 
unanimously resolved that Baggot should be 
the first to figure in our Gallery of Players. 

And so "King," as he is familiarly termed, 
deserves to be. 

T. B. 



Then the man took it up in a bucket. The 
traveling cranes, since they have been raised, 
stand high in the air like bridges of steel spider 
webs, as they carry the concrete from the 
cars to the place it belongs in the molding of 
the substructure of the power house. Clam- 
bering into one of the buckets, as big as a 
playhouse, the man was lifted clear up to the 
top and across to the dumping point, turning 
the crank of his camera all the time and keep- 
ing its glass eye directed at the work being 
done — care was taken not to tip the bucket 
and dump him into the bed of soft concrete, 
and at the tiptop point he turned the camera 
in a circle and took a panorama of the entire 
Iowa division works. 

That giant's coffee mill on the Illinois side 
which takes in rocks as big as a sideboard and 
crushes them into stones of the size the small 
boy likes to throw, at the rate of 600 carloads 
every twenty-four hours, was fixed on the 
films in the act of chewing up masses of lime- 
stone. 

When the camera was placed on a flat car 
ahead of a locomotive it was carried through 
the Iowa works from one end to the other 
and took in about a half-mile of as active, 
hustling work as can be found in the world. 

The camera then moved up close to der- 
ricks, locomotives, cranes, travelers, channel- 
ing machines, form builders and the rest and 
took pictures of them in action with every de- 
tail showing. And after looking at everything 
on both sides of the river, taking in the long 
line of arches and the big traveler on top of 
the dam, and the bull nose of the new lock 




Scene from "The Greatest Dam in the World": WEST BULL NOSE LOCK 



with much larger gates than any at Panama, 
the camera took a glance at the old lock in the 
government canal, just to have something to 



show by comparison how big and great the 
work of the Mississippi River Power Com- 
pany really is. 



\ 



THE WORTH OF A MAN 

A young Surgeon, who is deformed, is ridiculed by his associates 
but proves that he has the instincts of a hero 



Copyright 1912 by Imp Films Company 



















ARTHUR SEVERN was a hunchback who at his university was jeered at for his deformity. 
Even Elsie, the girl upon whom he had set his heart was forbidden to countenance him. But 
he became a successful surgeon and was assigned a position in a hospital. To that hospital 
Elsie was sent suffering from a complaint which necessitated a skilful operation. This Arthur performed. 
He had almost completed his task when the hospital took fire. Arthur's associates fled, but he stuck 
to his post; completed the operation and removed the girl to a place of safety. He was rewarded for 
hi s bravery and devotion by the hand of the girl whose life he had so courageously saved. 



Released on January 25, 1912. 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



>fHREB IMPS 



THE "IMPLET" 



THE WORTH OF A MAN. 

(Imp Drama, released Jan. 22nd.) 






Scene from "The Worth of a]Man" 

Mr. C. B. Hoadley, the author of this story, 
is distinctly to be congratulated on having 
written a powerful drama on unconventional 
lines. The deformed surgeon, who proves 
out a veritable hero, gives Harry Pollard a 
splendid acting chance. The Worth of the 
Alan is Pollard's play, in fact, although there 
are many other characters that are well and 
carefully played. 

This drama is one of the most dignified 
productions now to be seen in the moving 
picture theatre. And it has a valuable under- 
lying lesson, viz., that a physical deficiency is 
no barrier to scientific success or the heart 
of a woman. 

Margarita Fischer again demonstrates her 
wonderful versatility in the character of Elsie. 

The scene where the young surgeon is com- 
pleting the operation in the burning hospital 
will surely thrill the picture fan through and 
through. It is a fine example of moving pic- 
ture stage-craft. 



ON THE SCREEN 

By "Lux Graphicus." 



ALL A MISTAKE. 

(Imp Comedy, released Sat,, Jan. 27.) 




Scene from "All a Mistake" 

Grace Lewis and Edward Lyons are at 
their best in this brisk comedy. Grace left 
an unfinished letter lying on the table, and 
when Edward Lyons came home and saw the 
apparently incriminating document the trou- 
ble started. But before he reached the letter 
Edward Lyons couldn't get in his house even 
by the fire-escape route. A policeman inter- 
fered. The scene in the police court, where 
Edward proved his right to enter his own 
home, is a fine specimen of subdued serio- 
comic work ; the magistrate, the offending po- 
liceman and Lyons acting as convincingly as 
life. 

When Edward does arrive home and does 
see that letter the inevitable starts. The al- 
most simultaneous appearance of Grace Lewis 
is the signal for a series of quarrels con- 
ducted at high pressure, which might have 
gone on interminably if it were not discovered 
that the letter was intended for harmless E. 
Le Saint, who was a relative of Miss Lewis. 
So it was pointed out that "it was all a mis- 
take," and everybody was made happy. 

This is pure comedy of the probable do- 
mestic kind. It could happen and it does hap- 
pen. All four players enter thoroughly into 
the spirit of the story, and it goes well. 



My adventures since I last wrote under this 
caption in another publication would, I think, 
supply admirable material for a whole series 
of Imp pictures — dramas and comedies. I 
am in treaty with some of the company's di- 
rectors on the subject, and it is therefore not 
impossible that ere long Mutt and Jeff, Des- 
perate Desmond and Sherlocko and Watso 
v ill be eclipsed in popularity by "Lux Graph- 
icus" in the moving picture theatres. For 
truth is stranger than fiction, and a whole lot 
more exciting, especially when it is handled 
competently. Take the play of "Disraeli" at 
Wallack's Theatre just now, as a case in 
point. 

Disraeli was a British statesman who had 
an extraordinarily romantic career. It has 
been turned into a play by Louis Parker and 
George Arliss is making a striking success in 
the part of Disraeli, who became Prime Min- 
ister of the British Empire, Earl of Beacons- 
field and what not. And Disraeli started in 
life as a friendless Jew glad to work as office 
boy to a firm of London attorneys. Just fan- 
cy that ! An office boy becoming a real belted 
British Earl and the ruler of four hundred 
millions of people! ! 

But about me ! I don't say that my career 
has been quite so romantic as Disraeli's since 
I last wrote as "Lux Graphicus" on Twenty- 
third Street, New York City, but it has been 
vicissitudinous and it has taught me a whole 
lot about some aspects of the moving picture 
business, which has increased my store of 
experience, and I hope my wisdom. And if 
you will give me your kind attention, week 
by week, ladies and gentlemen, I shall hope 
to entertain you with some of those experi- 
ences and endeavor, at the same time, to make 
this department of "The Implet" useful as 
well as entertaining. 



Walking home to my Fifth Avenue man- 
sion the other evening I caught a glimpse of 
a bright pair of eyes peering at me from 
the interior of a smart automobile. This was 
just opposite the Plaza. So I halted and 
raised my hat — that particularly shiny "roof" 
which is already the theme of admiration in 
the aristocratic purlieus of Columbia.* The 
automobile also stopped. A daintily gloved 
hand was extended to me and a deliciously 
soft voice exclaimed : "How do you do, 
Lux-y dear?" 

Of course, I told her that I "did" very 
well, which pleased the gracious girl, who is 
a scintillating Broadway star, and who has 
been and is on the pay roll of Charles Froh- 
man — a very talented actress and a very pret- 
ty woman. All my lady friends are talented 
and pretty. To avoid unpleasantness, per- 
haps, I'd better say that ALL ladies, whether 
they are my friends or not, are talented and 
pretty. That gets me out, doesn't it ? 



Acs," said this one, whom I will call 
Maude Barrymore (her real name is nearly 
as well known), "yes," she said, "we are 
having a success at last, Luxy, and I'm booked 
solid for some months — but, oh, what debts 
I have, to be sure ! They swallow up nearly 
all ni)- salary. Fancy, ten years of failure 
and mediocre success before this good thing 
came along! For the love of Mike, Luxy, 
if any of your girl friends want to go on the 
stage, tell 'em to get a job at Macy's or Child's 
instead. It's humbler work, but surer." 



"It's the picture," went on the beautiful 
Maude, "it's the picture that has hurt us. 
AND WE'VE ALL GOTTA COME TO IT 
SOONER OR LATER. Ta! Ta! See you 
at the Knickerbocker Sunday evening, as 
usual, I s'pose?" (I always dine at J. B. 
Regan's charming hotel on Sunday evenings). 
With that, Maude's chauffeur got up steam 
and swept his machine into the auriferous 
roar of Millionaire Row, and I went home to 
my humble abode (near the Vanderbilt home) 
pondering on her words. 

"WE'VE ALL GOT TO COME TO IT." 
Now, reader, I'm not joshing. Those words 
were actually used to me by a famous and 
successful actress. What do they mean? 
They mean something the full significance of 
which neither of us, perhaps, can yet fully 
grasp. They mean, in effect, that the primacy 
of the talking stage as the world's chief source 
of amusement has been successfully assailed 
by the silent drama, the "moving picture" so- 
called. It isn't a moving picture, by the way ; 
it's a motion picture according to my ideas — 
but let that pass. 

Only a thousand days ago a girl of the rep- 
utation of Maude Barrymore would have 
laughed at the idea of being associated with 
"the picture." But now ! ! Nous avons 
change cela. As I shall frequently drop into 
furrin' languages it will be advisable for you 
to lay in a stock of dictionaries and lexicons. 
We are classy people, we picture folk, in these 
times ; we are coming into our own ; like Mr. 
Hannibal Chollop in Dickens' novel, "Martin 
Chuzzlewhit," "we air a great people and must 
be cracked up, Sir." 

Still, the picture, notwithstanding its great- 
ness and importance, has enemies in the press, 
the pulpit, the class room, the highways and 
byways. And these people must be handled 
and robbed of their capacity for doing mis- 
chief for mischief's sake. This section of 
"The Implet" will, if occasion demands, be a 
militant one and a defensive one. Which, in 
making my bow to the thousands of "Implet" 
readers, is what I want chiefly to say in in- 
troducing myself to you in this the first num- 
ber. 



"^Don't mind him. He means Columbus Avenue. That's where the Imp pictures are printed. — Editor "The Implet" 





SCENES FROM "ALL A MISTAKE." 




ALL A MISTAKE 

The moral of this story is that young wives who leave unfinished letters to strange men 
lying about, must not be~surprised if their husbands grow jealous 



Ccpyt ight 192 2by Imp Films Company 




PERCY goes home, and finds that he is unable to get in his house. It's all locked up. A police- 
man arrests him as he tries to obtain ingress by the fire escape. Proving his identity at the 
police office he succeeds in getting indoors at last, to discover that his young wife has disap- 
peared. An unfinished letter suggests that there is a man in the case. So Percy promptly proceeds 
to pack up his belongings in which operation he is surprised by his wife, who has returned from a 
visit. The two thereupon quarrel violently until a telephone message to the lady's newly arrived 
brother and his wife, bring these good people round to explain matters and prove that it has been 
"all a mistake." 

A brisk farce-comedy acted with snap and decision by the famous Imp Company. 
Released on January 27, 1912. 

on the same reel: A DAY ON A BUFFALO RANCH 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



tf HREB imps 
^VEEf WEEK. 



£HBE£ IMPS 
'EVERY WEEJC, 



THE "IMPLET" 



MARGARITA FISCHER. 

Next week's "Implet" will contain a port- 
rait and appreciation of Margarita Fischer, 
tb( Imp "girl with the bright eyes," who is 

charming millions of Imp fans all over the 
wo: id with her clever acting. 



"THE IMPLET" WANTS A PICTURE 
i ij m m \X1) YOUR THEATRE. 

hear Friend Exhibitor: 

We want your photograph, and we want a 
photograph of your theatre. Send us either 
or both, and we will find a corner for it or 
them in "The Implet." 



THE [MP SCENARIO CONTEST. 
The awards in this contest, which has at- 
tracted entries from all parts of the world, 
will be published in the next number of "The 
Implet." 

The judges are: The Editor of "The Imp- 
let," Mr. F. E. Woods of "The Dramatic 
Mirror" and Mr. Johnson of "The Morning 
Telegraph." 

The competition was extensively advertised 
as follows : 

$285 IN CASFI PRIZES FOR 
SCENARIOS. 
The "Imp" Company wants the best 500- 
foot comedy scenarios it can buy for its third 
release. To stimulate the interest of the best 
writers we offer special prizes for the- four 
best comedies received at the "Imp" office be- 
fore the first of the year. Names of winners 
will be used on title of prize films as well as 
advertised in the papers. 

1st Prize $100.00 

2d Prize 75.00 

3d Prize 60.00 

4th Prize 50.00 

The "Imp" Company will unhesitatingly 
pay the highest prices for all other scenarios 
submitted during this contest and found avail- 
able by Mr. Laemmle. We want to be known 
as the company that makes the best comedy 
films on earth — and we are willing to pay for 
it! Let's have the best you've got — and 
quickly! 



THE IMP BALL. 

Although three weeks have passed since the 
Imp Ball was held, its signal success demands 
reference in the first number of "The Implet." 

It was field in the Alhambra Hall, Seventh 
Avenue and 126th Street, New York City, on 
Saturday evening and Sunday mornings-De- 
cember 30-31, 1911. The utmost credit is 
due Edward M. Roskam and Jack Cohn for 
the organizing work which the ball entailed, 
and to the latter a word of special recognition 
is tendered for his arrangement of the Grand 
March of The Imps, which was THE Feature 
of the Night. 

The company numbered several hundreds, 
and it included the President of the Imp Films 
Company, Mr. Carl Laemmle, Mrs. Laemmle, 
Mr. Julius Stern, and all, or nearly all, the 
office, studio, acting and factory forces avail- 
able, together with many visitors from other 
Independent companies, the press, etc. 

This year an even greater success is antici- 
pated for the third Imp Bali to be held next 
December. Take your tickets in time. 



*** The Editor is open to receive articles 
or other communications that may be of in- 
terest to moving picture exhibitors, renters 
and manufacturers. These, if accepted, will 
be paid for at stipulated rates. 

In ah cases MSS. must be typewritten and 
accompanied by stamps for their return in 
case of non-acceptance. 



THE IMP "THREE-A-WEEK" 

The new year's program of Three Imps a Week is, to my mind, just the thing for 
you, .Mr. Exhibitor. 1 want you to make a practice of demanding that three a week. 
Say it to yourself, to the young lady at the box office, to your ushers, your operator, to 
everybody about the theatre. Say it to your wife and say it to your children. Start an 
universal chorus: "We demand three a week." 

My reason for asking you to make this your daily invocation is as follows: The Imp 
program this year is an ideal Three-a-week program. It consists on the Mondays and 
Thursdays of two of the best dramas that the mind of man can produce. The stories are 
clear, convincing, cogent. They are perfectly acted by the best companies in the world, 
amongst whom are your old and tried favorites, and the old and tried favorites of your 
audiences, whose names and pictures and parts will be written about week by week in this 
paper. 

I come to the third Imp, the Saturday split. This frequently consists of two half-reel 
comedies, in which are concentrated the best obtainable humor, subject and acting. Or 
in place of one of these comedies you will get a short industrial. For example, on the 
13th of January you had the Cotton Industry conjoined to the comedy subject, "HOW 
SHE MARRIED" ; on the 27th you have "A DAY ON A BUFFALO RANCH" with the 
comedy, "ALL A MISTAKE"; on the 10th of February you have "The Tea Industry" and 
the comedy subject. "WHO WEARS THEM?" 

So you will see that in the week we alternate drama, comedy, industrial. 

Those are the leading features of the Imp three-a-week, and they constitute the rea- 
sons why I ask you to demand three Imps a week of your Exchange. 

In demanding Three a week and in getting Three a week you are assuring three 
good, money-making programs. You are pleasing your patrons as well as swelling your 
bank account. 

If I had the space I could reproduce hundreds of letters from all over the United 
States, attesting the enormous popularity of the Imp Three-a-week. I haven't the space, 
because I have so much else to write about. But I want you to take my word for it that 
in the short space of six weeks (that is, since December 2d), when we began to release 
Three-a-week, the Imp Three-a-week has attained enormous popularity. That popularity is 
increasing every second of time. The Saturday split release which converted the Imp 
Two-a-week into the Imp Three-a-week had an instant success. It is so popular with the 
exhibitors and the public that it is selling more copies after forty days' existence than 
many other films can sell after forty weeks' persistent, pertinacious plugging. 

Now, if I write all day I cannot adduce more convincing testimony of the popularity 
of the Three Imp a week program. 

So I conclude this little admonition, dear Friend Exhibitor, with the repeated sug- 
gestion to you to Demand Three Imps a week. Let Three Imps a Week be your watchword 
this year, 1912, and success will come to you in an ever-expanding degree. 



CALENDAR OF IMP RELEASE DATES 

Monday, January 1 — His New Wife, 



Comedy 



Thursday, January 4 — The Trinity, 



Drama 



Saturday, January 6 — Playing the Game — Back to His Old Home Town, 
Monday, January 8 — The Winning Miss, 



Comedy 
Comedy 



Thursday, January 11 — In the Northern Woods, 



Drama 



Saturday, January 13 — Cotton Industry (Industrial), How She Married, 



Comedy 



Monday, January 15 — The Deserted Shaft, 



D 



rama 



Thursday, January 18 — After Many Years, 



1) 



rama 



Saturday, January 20 — The Flag of Distress — I Wish I Had a Girl, 



Comedy 



Monday, January 22 — Building the Greatest Dam in the World, 



Industrial 



Thursday, January 25 — The Worth of a Man, 



Drama 



Saturday, January 27 — A Day on a Buffalo Ranch (Scenic), All a Mistake, 
Monday, January 29 — The Kid and the Sleuth, 



Comedv 



Drama 



Thursday, February 1 — The Power of Conscience, 



D 



rama 



Saturday, February 3 — O'Brien's Busy Day — Brown Moves in Town, 



Comedy 





SCENES FROM "THE WORTH OF A MAN. 




fcx&g 



m 



\i 



Pi 



ING BAGGOTT, William Shay and Miss Briscoe arc at their best in this 
powerful drama of modern life. It is the story of a young wife who 
neglects her child; gratifies her love of dress and almost elopes with the 
false friend of her husband until recalled by the power of conscience. Similarly, 
her husband is tempted to keep possession of some jewelry which he accidentally 
finds. Here again better instincts prevail and he resists. Husband and wife 
mutually agree to economize and do better in the future. The distinctively 
refined features of the Imp players' Art are shown at their best in this picture. 






w 



"J J 1 fl l • . 'V 
<c> 1' i •TV'"- 




THE "IMPLET" 



^Tfte "ampler 

THE MOVING PICTURE NEWSPAPER 

Edited by THOMAS BEDDING 



Published at 102 West 101st Street, New York 



SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY. 5 CENTS 



Mr. Julius Stern, the General Manager of The 
Imp Films Company, although only 26 years of 
age, has had a remarkably varied experience in 
the him business. In 1906 he managed a theatre 
on Milwaukee Avenue, Chicago, using two reels 
of film a week, showing one on three days and 
the other on four days. In 1907 he joined the 
Laemmle Firm Service in Chicago, being ap- 
pointed Assistant Manager and placed in charge 
of the Booking Department. In 1909 he bought 
Itala and Ambrosia pictures, "but," says Mr. 
Stern, ' I would have been glad to have had 
Imps, if 1 could have got them. Neither did we 
have any posters, lithographs or synopses in those 
days; things were very different in the business." 

With his valuable experience in the exhibiting 
and exchange ends of the business, Mr. Stern 
came to New York in April, 1911, being ap- 
pointed business manager of the Imp Films 
Company. On Mr. Laemmle's return from 
Europe in October 1911, he was appointed 
General Manager of the Company. 

In the summer of 1911 he undertook a Euro- 
pean trip, visiting London, Paris, Berlin and 




JULIUS STERN 

General Manager of The Imp Films Company 



Munich, making a close study of the business in 
those great centres. 

Mr. Stern's aims are progressive. It is his ob- 
ject to constantly improve the quality of the Imp 



pictures in respect to story, acting and photo- 
graphy, so that the Exchange may be able to 
handle Imp films which cannot fail to please 
his customers. 



The Greatest Dam in the World 



Last week we 
Greatest Dam in 



jave a description of how "The 
the World was made." The 



vanous engineering operations illustrated in the 
picture are as follows: 




Scene from "Building the Greatest Dam in the World." 



Mixing concrete, 1,500 cubic yards per day. 

Present government lock in canal, to be 
superseded by great lock at new dam — Major 
Montgomery Meigs, U. S. C. E., in fore- 
ground. 

Present and future levels of C. B. & Q. 
tracks at Iowa end of the dam. 

Looking northward at the partly completed 
dam. 

Crushing rock — 500 carloads per day — for 
concrete. 

Incline railway carrying materials to con- 
crete mixers. 

Largest cantilever traveling crane placing 
concrete in dam. 

Unique steel forms molding concrete dam. 

Cleaning bed rock in bottom of Mississippi 
before building dam on it. 

New lock given to the United States, in 
some respects larger than any at Panama. 

Excavating bed rock in river for wheel pits 
of power house. 

Building of power house one-third of a mile 
long — taken from moving train. 

Sawing a channel in the bed rock of the 
American continent. 

Viewing mammoth power house concrete 
bucket. 

Dam and power house construction meeting 
and Mississippi almost closed. 

One traveling crane helping build mammoth 
power house. 

Hauling sand to make concrete for the 
greatest dam in the world. 

Loading sand taken from river to make con- 
crete for largest water power plant in the 
world. 




THE KID AND THE SLEUTH 

A travesty on the dreams and aspirations of a Messenger Boy. A highly exciting and laughable farce comedy. 

Copyrighted 1911 by Imp Films Gempany 



Pi 




com 



THOMAS BEDDING 



AN OPEN LETTER TO THE EXHIBITOR. 

By THE EDITOR OF "THE IMPLET." 

N 1 909 when the Independent side of the moving picture business started, and 
Carl Laemmle placed himself at the head of it, I predicted, in "The Moving 
Picture World", "The Kinematograph Weekly" and other papers, his great 
success as a film maker. I had studied the man and his methods; I had 
fidence in him and them. 
Carl Laemmle's success came. First One and then Two Imps a week, 
captured thousands of moving picture audiences in the United States, Europe, 
South America, Australia, Africa, Asia--the whole world in fact. 
Why? 
Because of the splendid qualities of their stories; their acting; and their 

photography. 

You and I know that moving pictures today will not please the public unless 
they are uniformly and consistently good; good in story or subject; acting and 
photography. 

The Two Imps a Week have been uniformly and consistently good. 
That's why they have succeeded; that's why Exhibitors Demand them; that's why 
the Public like them. 

The Imp films being the most popular with the public, are the most profitable 
to the Exhibitor. It has, therefore, been sound business policy on the part of the 
Exhibitor to demand them : to give them prominence; to give them preference. 
I want you who read this— I want Every Exhibitor— to now Demand of his Exchange, in future, and to 
insist on having, Three Imps a Week. 

Why do "I" want this and who am I that want it? 

Because in the first place, as Two Imps a week made money for the Exhibitor, Three Imps will make him still 
more money. 

The public wants three Imps a week: this is proved by the fact that Imp films have the largest Sale, and 
consequently you, Mr. Exhibitor, must have them. 

Then, in the second place, good as the Imp pictures have been in the past, they will be better in the future; they 
will be the best that human brains and hands can make. 

Right now, this very instant while you are reading this letter, means are being taken to make the Imp pictures 
better, and the best. They will have the best stories; the best photography; the best acting that money can buy. 
The cleverest actors; producers and photographers are being engaged; the world is being ransacked for novel 
scenic subjects; every vital step that goes to the making of a perfect motion picture is being taken. 
Now about me. 

I've had years of valuable experience in the dramatic; photographic and moving picture fields. All that experience; 
all my knowledge is at Carl Laemmle's disposal in the making of The Three Imps a Week. My aim in life is to help 
make Imp films absolutely the Best; Most Popular; and the Most Profitable in the World. 

Now, as to you : I want you, Mr. Exhibitor-you who hold this letter in your hand-to do your part; to back 
me up; and to respond to my efforts to help you to show the best and most profitable films in the world by 
Demanding Three Imps a Week of your Exchange. 

And more: . 

I want you to write to me about the Imp films. Tell me what you and your audience want in them. 1 ell me 
what you think of the stories; the acting; the photography. Tell me what is best for your business and you shall have 
it in Imp films. For three years I wrote for, and to, you in the pages of the "Moving Picture World" and other 
publications, week by week. Now I want to write to you direct in "The Implet" about the Imp Films and your 
business; and in return I want you to write to me, so that by our united efforts we can give the millions of motion 
picture patrons throughout the world absolutely the best pictures possible to produce, and you will have a programme 
which always brings out the welcome S. R. O. 

Demand Three Imps a Week and we shall both succeed in our aims. 

Very truly yours, 





Office of "THE IMPLET" 

102 West 101st Street 
NEW YORK CITY 







and pictorial 
rsecuted girl in 
ins firm. The 
ig incidents the 
y awakens to 
1-29-12 



Editor of THE "IMPLET' 



THE "IMPLET" 



Imp Players: No. 2. MARGARITA FISCHER 




MARGARITA FISCHER. 



"The Girl and the Half Back," a recent 
Imp comedy release, showed Margarita Fisch- 
er in a very engaging aspect, which is mani- 
fested in this character picture. She is the 
winsome heroine of the football story around 
which the film was made, and as the photo- 
graph is like her in real everyday life, that 
is why it is reproduced here in preference to 
a studio print. 

At this moment Margarita is working in 
Los Angeles with the Imp Western Company, 
so I can write things about her without run- 
ning the risk of being called down over the 
phone by my victim. 

Youthful as she is, Miss Fischer has had 
considerable theatrical experience in stock 
companies. She is a Western girl, and is en- 
ormously popular on the Pacific Coast. She 
is an artist to her finger tips ; finished, ver- 
satile and thorough. Comedy, tragedy, char- 
acter, are all within her scope, and she never 
appears in a picture without doing absolute 
justice to her part. 

I want you to specially note her splendid 
performance in "Who Wears Them?" the 
Imp comedy release of February 10th. Here 
she plays the part of a young wife who gets 
the better of her erring husband. Margarita 
is a veritable whirlwind of passion in this 
comedy, wielding a broom with the deadliest 
and most destructive effect. 

Margarita has splendid eyes, and she knows 
how to use them to the best effect. Look at 
them in her next picture and see if I do not 
speak truly of those wonderful orbs. 

In "Where Paths Meet," a drama to be re- 
leased at the end of February, Margarita 
Fischer plays a part that taxes her powers 
of tragedy to the utmost, and will assuredly 
seat the seal upon her fame as one of the 
greatest motion picture actresses in the world. 

T. B. 



CASTS OF THE IMP PLAYS. 

In each number of "The Implet" we shall 
give the names of the principal characters in 
the Imp dramas and comedies, together with 
the names of the author of the scenario and 
the producer. 

Release of Thursday, January 25th, 1912. 

THE WORTH OF A MAN (Drama). 

Written by C. B. Hoadley. Produced by 
Farrel Macdonald. 
Arthur Severn (a young surgeon) .... 

Harry Pollard 
Elsie Margarita Fischer 



Release of Saturday, January 27th, 1912. 
ALL A MISTAKE (Comedy). 

Written and produced by F. J. Grandon. 

Percy Yane Edward Lyons 

Mrs. Yane (his wife) Grace D. Lewis 

Col. Ferrer E. Le Saint 



TFIE KID AND THE SLEUTH. 

A FANTASTIC DRAMA. 

(Monday, January 29th. ) 

PRODUCED BY THOMAS H. INCE. 

Nick Carter ..King Baggot 

The Villain W. R. Daly 

The Villainess Miss Young 

The Persecuted Heroine Ethel Grandon 

The Kid .Thomas Barry 

This story was adapted by Thomas Barry 
from his own vaudeville sketch. 
(Continued on page 8) 



THE POWER OF CONSCIENCE 



HI ■ » \>'^B ' >! 



Closing scene of the play where husband and wife mutually agree to lead better 

and more economical lives in future. 




THE POWER OF CONSCIENCE 

The still small voice of Conscience is a power for good in the regulation of our lives 



Copyright 1912 by Imp Films Company 




ERIC MASTERS and his wife are leading the lives of society people on a limited 
income. Their friend Vernon Godfrey, who is wealthy, and is interested in 
Mrs. Masters, holds a note of Eric's which he is willing to renew, provided 
the wife will go away with him. She very nearly consents to do this, when he 
threatens to ruin her husband, but in the end love for her husband triumphs, and she 
remains true to him. Before this, at a fashionable ball, one of the guests, Mrs. Leslie, 
loses a valuable jewel, which is found by Eric. This means a way out of all his diffi- 
culties, as the jewel is worth $10,000. He is tempted to retain it, give his wife all 
she desires, and repay his friend. But after deliberation, he returns the jewel, prefer- 
ring to be honest, and with his repentant wife resolves to lead a happier and more 
economical life in future. 



2-1-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



>fHK£B imps 
,ZVEKT WEEK, 



i *UB££ IMPS 
'EVERY WEEK* 



THE "IMPLET" 




THE KID AND THE SLEUTH. 
(Imp Comedy Release Monday, Jan. 29th.) 

The Kid dreams over a blood and thunder 
book that he puts Xick Carter, played by King 
Baggot, on the track of a Villain and Villain- 
ess, played by W. R. Daly and Miss Young, 
who have designs upon the personal safety of 
the heroine played by Ethel Grandon. Mock 
tragedy, mock heroics, mock sensations of the 
most deadly kind are enacted in the film, 
which ends, of course, with the Kid awaking 
to find it was all a dream. 

W. R. Daly as the burlesque villain gives 
a piece of the most finished travesty and looks 
the part to the life. 

If it were real, ''The Kid and the Sleuth" 
would make your flesh creep. As it is not 
real, it doesn't do that. It just shows how 
splendidly the Imp comedians can interpret 
the exaggerated actions of burlesqueing play- 
ers. 




O'BRIEN'S BUSY DAY. 
(Imp Comedy Release Saturday, Feb. 3d.) 

W. R. Daly in this comedy has a film al- 
most entirely to himself, and, like the fine 
character actor that he is, makes the most of 
his opportunities. O'Brien seems unable to 



ON THE SCREEN 

By "Lux Graphicus." 



I want the reader this week to realize the 
importance and vastness of the business in 
which he is engaged. To do this I must give 
him some figures. Some people don't like fig- 
ures. ( >thers won't or can't understand them. 
"I've no head for figures," is a frequent com- 
plaint. These folk become authors, painters, 
poets, preachers, astronomers, missionaries; 
they are dreamers of dreams. 



But you and I, Friend Exhibitor, are prac- 
tical, matter-of-fact business men, and we 
know that figures, and a knowledge of them, 
are essential to commercial success. Mr. 
Rockefeller would not, at his time of life, be 
playing golf peacefully if he had not in his 
early career grasped the fundamental impor- 
tance of figures. Figures enable Mr. J. P. 
Morgan to do what he is doing. Figures and 
a few years' longer life would have placed the 
late Edward Harriman in absolute possession 
of the entire railroad system of the United 
States. 



So, let's do some figuring out in respect of 
the moving picture business, in order that you, 
Mr. Exhibitor, may be convinced of your own 
individual importance as part and parcel of 
one of the greatest — if not the greatest — en- 
tertainment enterprises on earth. In the 
United States at the present time there are 
30,000 "places" at which moving pictures are 
being more or less continually shown ; 12,000 
of these places are moving picture theatres ; 
the remainder are schools, churches, chapels, 
ordinary theatres, halls, etc. 



Who told me? A man in the business who 
sells carbons for projectors. He has a list of 
these 30,000 places. But let us deal only with 
the theatres, of which yours, Mr. Exhibitor, 
may be accepted as a type. Calculations, 
based upon available data, aver that the mov- 
ing picture theatres of the United States are 
daily visited by 5,000,000 people, and that in 
the course of a week the total attendance is 
something like 30,000,000, or an average week- 
ly attendance for each theatre of 2,500. This 
is probably under than over the mark. 



Multiplying the weekly attendance by 52, 
we arrive at the astonishing conclusion that 
in a year the moving picture theatres of the 
United States are visited by 210,000,000 peo- 
ple. Two hundred and ten million people — 



that is about one-eighth of the total popula- 
tion of the globe! This means that every 
man, woman and child in the country pays 
either two or three visits a year to a moving 
picture theatre. Does not this bring home 
\ ividly to your mind the enormous importance 
of the picture to the community ? 



Somebody has calculated that the people of 
the United States spent $300,000,000 a year 
in moving picture theatres. This means that 
people go more frequently to the theatre than 
I have suggested ; that the average admission 
fee is higher than five cents. The figures are 
probably exaggerated. But let us suppose, for 
argument's sake, that S 100,000,000 a year pass 
through the moving picture theatre box offices. 
Isn't that a business of some magnitude? 



In foreign countries the figures of the busi- 
ness are equally striking. The British Isles 
possess, it is said, 6,000 moving picture the- 
atres — proportionately as many as in the Unit- 
ed States, whose population is about 90,000,- 
000, whilst that of the United Kingdom is 
about 45,000,000. So you see, the two prin- 
cipal countries of the world are supporting the 
picture in a definite ratio to population — prov- 
ing that the people need the picture. They 
not merely want it : they NEED it. 



In London, England, just now the manufac- 
turers are releasing 150,000 feet of new film 
every week ; in New York the figures are 
smaller, but still very large. The Eastman 
Kodak Company, of Rochester, sell, it is said, 
600,000,000 feet of negative and positive film 
a year. At 3y 2 cents a foot this is a tidy sum, 
eh? No wonder my friend, George Eastman, 
can pay 40 per cent, on Kodak stock. Makes 
your teeth water, Mr. Man, eh? And you just a 
teeny, weeny bit envious, maybe? 



Of course, all my figures are approximate — 
absolute accuracy would be difficult to obtain. 
I could keep up the parable all over this page, 
but it isn't necessary to do this. Such figures 
as I have adduced, however, should persuade 
the exhibitor (if persuasion be necessary) that 
the business he is engaged in is one of great 
magnitude, one of world-wide significance. 
Moreover, it should convince him that he per- 
sonally, individually, he. his own self, is an 
important person in an important business. 



JL 






-* 








■ng 1 h 












4 


' 


k v ^| 


Wkm 




I 




O'BRIEN'S BUSY DAY 



get a moment's peace either at work or play. 
We follow him in a series of mental distur- 
bances through the whole of one busy 
day, which ends as it begins : with chagrin. 



In suggesting the tribulations of a disap- 
pointed and restless Hibernian, Mr. Daly 
scores a triumph of make-up, movement and 




O'BRIEN'S BUSY DAY 



Poor O'Brien found it impossible to pursue his daily avocation without interruption 



Copyright 1912 by Imp Films Company 




O'BRIEN'S busy day was not full of business in the conventional or remunerative 
sense. He certainly worked hard on that memorable day. Leaving for the 
office he got roughhoused more than once before he landed at his desk. Send- 
ing out for refreshments he was deprived of them by a predatory hobo. Going home 
at night for peace and a quiet smoke, he found all the rooms in his house occupied 
by his courting daughters and their lovers. Even on the very roof of the building 
the solace of tobacco is denied him — he is ejected from that position. Finally 
O'Brien makes for the Contractor's Club, only to find that place closed for repairs. 
This picture is somewhat in the nature of a monologue or one part play, the burden 
of the work falling upon W. R. Daly, the Imp Company's splendid all round actor. 



2-3-12 



ON THE SAME REEL: BROWN MOVES IN TOWN 



>fHKEB IMPS 
^VEKf WEEK* 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



'fHBEg imps 
'EVERY WEEIC 



THE "IMPLET" 



PHOTOGRAPHS OF THE IMP PLAY- 
ERS. 

The Imp Films Company, No. 102 West 
101st Street, New York City, are issuing a 
set of photographs of the Imp Players — King 
Baggot, William Shay, \Y. R. Daly, E. J. 
Le Saint. Ed. Lyons, J. R. Cumpson, H. S. 
Mack, Farrel Macdonald, Margarita Fischer 
and Grace Lewis. The set of ten photographs 
will be mailed to any address for 50 cents. 

Every exhibitor should provide himself with 
a number of these sets. Me could distribute 
them amongst his audiences as souvenirs. 



The Imp Films Company's Californian 
party departed for Los Angeles on Saturday. 
December 30th. The director in charge is 
Francis J. Grandin, and the company includes 
Margarita Fischer, I [arry Pollard, Ed. Lyons 
and E. J. Le Saint. 

In early numbers of "The Implet" we shall 
print accounts of the doings of the company 
out West, together with photographs of scenes 
and incidents which we have arranged to have 
sent to us. 



WE INVITE CRITICISMS OF "THE 
IMP" PICTURES. 

Whenever you see anything in an Imp pic- 
ture calling for criticism or comment sit down 
at once and write us what is on your mind. 

We invite your opinions on our pictures and 
will publish them. 

Let us know what you think. Say it with 
as few words as possible. What we would 
like to do every week is to devote a column 
of "The Implet" to publishing the opinions 
of Imp exhibitors on Imp pictures. 

There's a double reason for this. Your 
criticisms will help us to help you. That is 
the principal object of "The Implet." 



A SATURDAY SUCCESS AND SENSA- 
TION. 
THE IMP "SPLIT"! 

Since the institution of the Imp Saturday 
"Split" it has proven a striking success. The 
design of this release is to combine two short 
comedies on the one reel, or one comedy and 
an industrial. 

For example, the release of Saturday, Jan- 
uary 27th, embraces an admirable study of 
buffalo life on a North Dakota ranch; con- 
joined to this is the refined comedy, "All a 
Mistake," in which Edward Lyons and Grace 
Lewis are seen at their best. 

The release for Saturday, February 3d, 
consists of two short comedies, but that of 
the 10th includes one illustrative of the Tea 
Industry. 

It will be seen, therefore, that Imp films are 
as educational and industrial as circumstances 
and the inclination of audiences warrant. 



CAST OF THE KviP PLAYS 

(continued from page 4) 

THE POWER OF CONSCIENCE. 

(Drama, Thursday, February 1st.) 

WRITTEN BY R. SAYRE. 

PRODUCED BY KING BAGGOT AND 

W. R. DALY. 

Eric Masters King Baggot 

Vera Masters (his wife)..— Miss Briscoe 

Vernon Godfrey William Shay 

BROWN MOVES IN TOWN. 

(Comedy, February 3d.) 

WRITTEN BY J. W. CULBERTSON. 

PRODUCED BY PIERCE KINGSLEY. 

Dr. Brown J. R. Cumpson 

Dr. Smith Miss Cummins 



O'BRIEN'S BUSY DAY. 

(Comedy, Saturday, February 3d.) 

WRITTEN AND PRODUCED BY OTIS 

TURNER. 
O'Brien W. R. Daly 




THOMAS BEDDING 



EDITORIAL: 

"BRICKBATS AND BOUQUETS." 

This is the title of a book which we are 
mailing free to any one who will take the 
trouble to write for it to The Imp Films Com- 
pany, No. 102 West 101st Street, New York 
City. 

It is a book of about 60 pages, and the con- 
tributors to it are Independent exhibitors all 
over the United States and Canada. This is 
how we made the book. 

In October we sent out a circular to exhib- 
itors, asking them if they were, or were not, 



in favor of Three Imps a Week. We also 
asked them to state their reasons one way or 
another. 

The replies astonished and pleased us. 
They came in by the hundred. There 
is an overwhelming desire for Three Imps a 
Week ; and the reasons why are given. The 
majority want coined}' : some want industrials. 
some want dramas, and others want educa- 
tional. But ALL— or NEARLY ALL— want 
Three-a-Week. And since December they 
have had them. 

But the book is of general, as well as of 
particular value. We have printed the "Brick- 
bats" as well as the "Bouquets." We have 
been fair, in the interests of The Imp Com- 
pany ; we arc fair in the interests of the gen- 
eral film business. 

This book voices the needs of the general 
public in moving picture films. The public 
speaks through the exhibitor, and we thus di- 
rectly learn for the first time what the public 
wants shown to them on the screen. 

The Imp films, therefore, supply the general 
need. We hope every exhibitor will carefully- 
read "Brickbats and Bouquets." It practically 
tells him how to conduct his business to the 
best advantage. 

Incidentally, it establishes our claim that the 
Imp films are the most popular films in the 
world. 

Mr. Exhibitor and Mr. Exchange Man, let 
us send you a copy of "Brickbats and Bou- 
quets." It is indispensable to you. 



CALENDAR OF IMP RELEASE DATES 



Monday, January 1 — His New Wife, 



Comedy 



Thursday, January 4 — The Trinity, 



D 



rama 



Saturday, January 6 — Playing the Game— Back to His Old Home Town, 



Comedy 



Monday, January 8 — The Winning Miss, 



Comedy 



Thursday, January 11 — In the Northern Woods, 



Drama 



Saturday, January 13 — Cotton Industry (Industrial), How She Married, 



Comedy 



Monday, January 15 — -The Deserted Shaft, 



Drama 



Thursday, January 18 — After Many Years, 



Drama 



Saturday, January 20 — The Flag of Distress — I Wish I Had a Girl, 



Comedy 



Monday, January 22 — Building the Greatest Dam in the World, 



Industrial 



Thursday, January 25 — The Worth of a Man, 



Drama 



Saturday, January 27 — A Day on a Buffalo Ranch (Scenic), All a Mistake, 



Comedy 



Monday, January 29 — The Kid and the Sleuth, 



Comedy 



Thursday, February 1 — The Power of Conscience, 



Drama 



Saturday, February 3 — O'Brien's Busy Day — Brown Moves in Town, 



Comedy 





Scene from "All A Mistake' 



Scene from "The Worth Of A Man' 





^1 




"THE MAKING OF THE IMPLET" 

WEDNESDAY, January 1 7th, was a red letter day in the history of the United States. 
Cardinal Farley returned from Rome as a Prince of the Catholic Church. All New 
York turned out to greet him. And the Imp Films Company made a picture of the 
Cardinal's progress from New York Bay to St. Patrick's Cathedral, and made it in record time. 
It was the quickest picture made of the event. 

Also on Wednesday, January 17th, 1912, "THE IMPLET" was published— that is to say, 
it was mailed and distributed to its thousands of readers in all parts of the world. With this, 
the third number of "THE IMPLET," the publication is made, that is to say it enters 
on a schedule. 

In newspaper making getting down to the schedule is very much harder work than writing 
articles and making illustrations. You have to work so far ahead. For instance, what you are 
reading now in this paper, dated February 3rd, is actually being said on January 1 8th. 

Don't ask me to explain why. Sufficient for the purpose is it to say that there is more in the 
making of a paper than meets the eye of the uninitiated. Every fool thinks he can command 
a battleship or make a paper. He is a fool for thinking so. It takes a wise man to do either 
and I am as wise as they make em at the newspaper game. 






;.','! 



* * -'> 



*<w 






Now, I want particularly to say something in 

thank everybody for their kind congratulations. 

suggestions which have reached me as to how The Implet should be conducted. Whatever is 

practical and practicable in these suggestions, I will adopt. Read what I say overleaf, column 2 



this article and to say it once and for all. I 
I am very much obliged for the innumerable 



V ;-. 



ftfti 



But THIS is the most important thing of all that I want to say. No. 4, that is, next week's 
number, will be mailed from New York City on Thursday evening, February 1 st so as to reach 
subscribers at a great distance on the date of publication. For example: "The Implet" sent 
out on February 1 st will be dated February 1 Oth. Thus : the Exhibitor on the Pacific Coast 
is placed on the same footing as regards particulars of the current week's Imp releases as the 
Exhibitor in New York City. We are studying the convenience of all. 






it'Y - 5 , r ~ V 



In a few weeks the paper and 
Exhibitor as his breakfast. 



its scope will be enlarged. It will be as necessary to the 



"The Implet" is made. It is a success. You have helped us to make it. Now help us to make 
it some more. In return, it will help you fill your houses with Delighted lovers of Delightful Imps. 






THE "IMPLET" 



.»> 



Cije "implet 

THE MOVING PICTURE NEWSPAPER 

Edifd by THOMAS BEDDING 
Published at 102 West 101st Street, New York 



SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY. 5 CENTS 

"MILLIONAIRE FOR A DAY" 

The man who came from Wilkes-Barre 
to New York recently and lived the life of 
a millionaire for a day gave the news- 
papers plenty to write about. He slept 
and dined at the Waldorf-Astoria, did 
things in great style, painted little old 
New York a bright red twice round the 
clock and then went home. 

The Imp Films Company will shortly re- 
lease a picture on this subject, "A MIL- 
LIONAIRE FOR A DAY." If the picture 
does not exactly tell your audience how it 
feels to be a millionaire for a day, it, at 
any rate, will show them how it looks. 

"A MILLIONAIRE FOR A DAY" will 
be the most strikingly original piece of 
comedy work put out by the Imp Films 
Company. 



YOU ARE GOING TO RUN 
'THE IMPLET." 

— — From now on YOU are going to run 
"The Implet." 

You are hereby appointed editor-in- 
chief, boss, high mogul, critic, or whatever 
title you choose. 

How are you going to change "The 

Implet" to begin with? 

Where are you going to begin improv- 
ing it? What are you going to add to it? 
What are you going to subtract from it? 

— — Write "The Implet" immediately and 
GIVE YOUR INSTRUCTIONS. 

Tear "The Implet" to pieces. If there's 

anything about it you don't like, say so. If 
there's something you do like, say so. 

— We can't run "The Implet" your way 
until we know what your way is. And it is 
our intention and desire to make you like "The 
Implet" so thoroughly that you simply won't 
do without it. 

Give us permission to publish what you 

write, whether it is for or against "The Imp- 
let." 



— Now, then, Mr. 
here's your swivel chair. 

run "The Implet." 



Exhibitor-Editor. 
Climb into it and 



THE IMP WESTERN PICTURES. 

We shall shortly be releasing some fine pic- 
tures made by our Western company. Photo- 
graphs of the sets have been sent us ; they are 
exceedingly beautiful. 

The members of the company write us en- 
thusiastically of their work. They want the 
office of "The Implet" moved to Los Angeles. 
So do we ; but duty chains us to Columbus 
Avenue and little old New York. 



VIYI \.\ PRESCOTT. 
A portrait and appreciation of Miss Vivian 
Prescott, the Imp's newest leading lady, will 
appear in No. 4 of "The Implet." Vivian is 
but read No. 4. 



ERRATUM.— In No. 1 of "The Implet" 
we credited Mr. Laemmle with "three" chil- 
dren. Should have been two. Sorry. But 
everything now with us is going "three." 
Hence our error. This is the third number. 
It is devoted to Three-A-Week. The Imp 
Films Company is in its third year. Baggot. 
Daly and Shay are known as THE Three, and 
Three is a lucky number ; anyway, Rah for 
three ! 



-The first thing to do is to 
-WRITE ! 



A LINCOLN BIRTHDAY SUBJECT. 

We have an Imp drama suitable for Lin- 
coln's Birthday audiences. It is a war story. 
It is called "Reflections from the Firelight. " 
It is released on Monday, February 12th. Ask 
for it now and read all about it next week. 



Photographs of the Imp Players 



CASTS OF THE IMP PLAYS. 

The following are the casts of the Imp 
plays described in this number : 

THE HELPING HAND. 

(Drama, Released Monday, February 5th. ) 

WRITTEN BY ALICE MELLOR. 

PRODUCED BY F. J. GRANDON. 

John Clinton Farrel Macdonald 

Mrs. Clinton Mrs. Hurley 



MRS. MATTHEWS, DRESSMAKER. 

(Drama, Released Thursday, February 8th.) 

WRITTEN BY B. MORSE. 

PRODUCED BY F. J. GRANDON. 

John Matthews Edward Lyon 

Mrs. Matthews Margarita Fischer 

Mrs. Baldwin ......Miss Van Selle 

Ralph Baldwin..... William Shay 

Jennie Matthews (Mrs. Matthews' 

daughter) Gladys Egan 



WHO WEARS THEM? 

(Comedy, Released Saturday, February 10th.) 

WRITTEN BY BUREN POWELL. 

PRODUCED BY FARREL MACDONALD. 

Mr. Meek Harry Pollard 

Mrs. Meek Margarita Fischer 



Only 

50c. 

per 

SET 



The 
Snap 

of the 

Year! 




IS 




A HELPING HAND 

The trials and experiences of an old mechanic to obtain money to pay off the mortgage on his 
home furnishes the theme for an interesting and gripping drama. 




• . • 



Copyright 1912 by Imp Films Company 










AN aged mechanic, who is struggling to support his wife and child, is discharged by reason of coming too late for work. The mortgage on his house is due and he 
has not enough money to meet the demand. He tries to sell his body to a medical college but fails. Finally as he is in the throes of despair he finds a purse 
and has the money. He seats himself in a park and is counting the money when he is set upon by a gang of thugs. He lays the purse on the bench and 
there is a stuggle. A park employee is pruning a tree above the^bench and reaches down and abstracts the purse by means of his long shears and the robbers fail to 
get it. When they are gone the man on the tree replaces the purse and the old man is overjoyed to find it. He is enabled to retain his home but is in ignorance of the 
hand that assisted him when he was in dire need of succor. The story is acted in an excellent manner and is staged in good taste. It will 
interest all lovers of an entertaining drama. 2-5-12 



^HREB IMPS 



IMP FILMS COM PA NY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



IMPS 



THE "IMPLET 



Imp Players: WILLIAM SHAY 




WILLIAM SHAY 



THREE A WEEK. 
First, Last and All the Time. 

The Imp Elms Company has started out a 
special Commissioner. A live, aggressive, 
electric hustler ; to call first of all on all mov- 
ing picture Theatre exhibitors in New York 
City; and then on those in the cities in New 
Jersey. He shows them Imp Films. That is 
enough. HE JUST SHOWS THEM ! 

Imp Films do the rest; so to speak: "we 
press the button ; the films do the rest." 

What do we learn from our Special Com- 
missioner ? 

Read what is printed in "Brickbats and 
Bouquets," referred to in our editorial on 
page 8, number 2 of "The Implet." 

Exhibitors everywhere are demanding 
Three Imps a Week. This is not advertising 
imagery. It is a plain, cold fact, demonstrable 
by our card index system. 

We have a list of all the exhibitors in 
the United States. We are reaching them 
personally or through the mail. We are ask- 
ing them a direct question : Will you demand 
Three Imps a Week. If not, why not ? 

We record their answers. 

Those answers are reaching us day by day 
in large numbers. 

They are reaching us in numbers sufficient 
to convince us that a majority of the exhibi- 
tors of the United States want Three Imps- 
A-Week ; that they would exhibit them if they 
could get them and that they mean to have 
them, by hook or by crook. 

They can get them by asking for them ; by 
demanding them of their exchange. 

Imp Films are the most popular and profit- 
able films in the world. 



sjjs 

M 



Fate, or an Imp Director (same thing!) 
sometimes casts William Shay for the part of 
a villain in the Imp dramas. And whenever 
that happens 1 always I inwardly) say "cuss 
words," for not only docs Shay never succeed 
in being villainous, he never thoroughly looks 
villainous. He just CAN'T BE. 

I [e is always the polished, imperturbable, 
good-looking and well-dressed gentleman of 
polite comedy. Even in "The Power of Con- 
science," where he has to ruin .Mr. Ilaggot, 
and (try to) run away with Baggot's (stage) 
wife he gets through his wickedness with such 
perfect good manners that you cannot possibly 
feel the least bit angry with him. 

Mr. Shay had years of valuable theatrical 
experience before joining the Imp Company. 
He brings to his work infinite care and at- 
tention. He is thorough in everything that 
he undertakes ; popular with all his associates 
and (of course) a mighty great favorite with 
his world-wide audiences. 

"Billy," as he is affectionately styled at 

the Impedes, is the Second in the Trinity of 

great Imp Actors, of whom the third will be 
discussed in No. 5 of "The Implet." 





MARGARITA FISCHER AND KING BAGGOT. 



CI3 



MRS. MATTHEWS, DRESSMAKER 



Approximately, 7 1,000 Feet 

Copyright 1912 by Imp Films Company 



r 



, — -£„ 



— S fS>\>^- 



r**S*th< 






JOHN MATTHEWS is a common laborer, happy in the possession of a wife and child. He dies in harness, so to spejk, being stdcken at work. The wife has 
been a dressmaker before marriage arrd thrown npon her own resources, she resumes the occupation. She works for the wealthy who do not always pay her 
promptly. She finishes a dress for a Mrs. Baldwin, the wife of a rich man and depends on the money to buy the necessaries of life. Her little girl becomes ill 
and she sends to Mrs. Baldwin asking for the W-ige due her. The wealthy woman ignores the request thinking the woman can wait. The child becomes worse and a 
physician is called. He prescribes medicine and the widow goes to the pharmacy to obtain the drugs. The prescription is filled but, as she has no money the medicine 
is witheld. It is in a bottle and the widow is desperate. Watching her opportunity she steals the medicine, thinking her action unobserved. She is apprehended, 
however, and arrested. The husband of the rich woman intercedes for her, seeing the injustice of the act and his wife, filled with remorse makes a tardy reparation 
for her remissness. It is a story that will appeal to all classes. 2-8-12 

IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



>£VEKT WEEK, 



7JIBM IMPS 
' EVERY WEEK 



THE "IMPLET" 




"TITE HELPING HAND." 
Imp Drama Release, Monday, Feb. 5, 1912. 

Singularity of incident sometimes make 
the fortune of ordinary plays. In the case of 
the moving picture film something of the 
same kind applies. Some piece of business 
or s^age craft makes this evident and we like 
the film all the better on that account. There 
is a distinguishing characteristic of this 
nature in "THE HELPING HAND." The 
old man shown in the picture has been reward- 
ed for his honesty. When thugs attempt to 
rob him his pockets are empty. He has placed 
his wallet on the park seat. Up in the tree, 
a park employe sees the struggle below and ex- 
tends a helping hand to the old man. 

This helping hand is a pair of tree pruners, 
or shears, which enables the man to get hold 
of trie wallet on the bench. 

When the thugs break away empty-handed, 
the money is restored to the old man by the 
same remarkable agency. 

This is a fine and original play — something 
out of the common. The old couple are made 
happy by what appears to be providential 
means. It is a " different" story. 



ON THE SCREEN 



"MRS. MATTHEWS, DRESSMAKER." 
Imp Drama Release, Thursday, Feb. 8, 1912. 

This story is one that will appeal to a very 
large section of the theatre going public. It 
shows the struggles of a young widow, obliged 
to support herself and child by dressmaking. 
It also shows the harm, nay, the agony, which 
may be inflicted on the deserving poor by the 
neglect of wealthy women to pay their dress- 
maker's bills. 

Mrs. Matthews' child falls ill and as she 
cannot get the money due her for her work, 
she actually has to steal medicine in order to 
save the child. In the nick of time the fash- 
ionable woman's husband learns of Mrs. Mat- 
thews' predicament. The bill is paid, the child 
is cured, the widow made happy, and so the 
story ends. 

Margarita Fischer has a "stressful role in 
the part of Mrs. Matthews, and like the fine 
artist that she is, gives an excellent imperson- 
ation of the much harassed widow. 



WHO WEARS THEM ?" 

Imp Comedy Release, Saturday, Feb. 10, 1912. 

The lady in this rapid comedy conclusively 
proves that if she is not entitled to "weai 
them" by custom, she is capable of doing so 
in right of her intellectual and physical vigor. 



By "Lux 
The Monday and Thursday releases of the 
Imp dramas for the 5th and 8th of February, 
which are illustrated, described and criticized 
in this number, constitute a coincidence so 
extraordinary that 1 feel it should receive spe- 
cial reference in this number of "The Imp- 
let." As 1 told you in No. 1, truth is stranger 
than fiction and a whole lot more interesting 
at times. In "The Helping Hand" and "Mrs. 
Matthews, Dressmaker," we have two pieces 
of film fiction, and very fine fiction, indeed, 
which bears this out. 



Graphicus." 

and that is why those pictures were made and 
are being released. 



Nevertheless, fiction though these stoties be, 
they are naturally drawn and are true to life. 
They are as true as truth itself. When I 
started in under this caption in No. 1, I said 
that my recent adventures had been vicissitu- 
dinous. I also hinted that some of those ad- 
ventures might find a place on the Imp screen. 
But, bless my heart and soul, the Imp dram- 
atists and directors seem to have anticipated 
my intentions in "The Helping Hand" and 
"Mrs. Matthews, Dressmaker." 



As I sat and looked at these pictures I felt, 
in a way, that I was living part of my life 
over again. I am not going to be too particu- 
lar, but some of the experiences of the poor 
old man in "The Flelping Hand" actually be- 
fell me within the last one hundred days in 
New York City. Then, again, in "Mrs. Mat- 
thews, Dressmaker," I seem to see myself in 
the character of the poor woman who was re- 
duced to the straits of stealing medicine for 
her sick child. I didn't steal medicine when 
I was sick ; I wasn't strong enough. 



It is said that each one of us is a novel in 
himself. That is to say, if his experiences 
were properly narrated they would form at- 
tractive reading matter. The parallel holds 
good, no doubt, with regard to the film. We 
see on the screen some of our own lives and 
adventures, in part, at any rate, and we have 
a right to think and say that if our own life 
stories were taken in hand by competent 
scenario writers, directors and actors, they 
would make fine pictures. 



So, no doubt, they would in the right hands. 
N T ot every hands are the right ones for the 
work. They are not Imp hands. Imp hands 
are very humorous hands and very sympa- 
thetic hands. I, who write this, they who 
made and acted these fine plays of "The Help- 
ing Hand" and "Mrs. Matthews, Dressmaker,'' 
have suffered more or less in the same manner 
as the poor old couple and the poor young 
widow, and pretty much from the same causes, | 



Now, Mr. Exhibitor, I want you to feel that 
all of us of the imp force are in sympathy 
with you and through you with the great, 
good-natured, warm-hearted public. That is 
why "The Helping Hand" and "Airs. Mat- 
thews, Dressmaker," are offered to you. They 
are stories built around heart subjects. They 
reflect the joys and sorrows of everyday life 
as it is lived around us, as it is being lived 
this moment, in every habitable place on the 
globe. They arc just boldly drawn stories 
appealing to the heart, and striking one grand 
moral, viz., that circumstances may never be 
so bad but there is always some help at hand, 
proving that human nature, after all, is good 
and noble down at the bottom. 



So, as I talked to you about the importance 
of your business last week, I am asking you 
to believe that whatever precepts are handed 
to you in "The Implet" and in Imp Films will 
be good, clean and wholesome. Just take 
these two stories, "The Helping Hand" and 
"Mrs. Matthews, Dressmaker," examine them 
minutely, and you will AGREE they are good 
and wholesome, and that man, woman and 
child all over the world — "the plain people" 
of Abraham Lincoln — can enjoy and appreciate 
them. I feel that while human nature remains 
what it is it will go on appreciating them, 
which shows that human nature is and must 
be essentially and radically good. 



Although it is referred to elsewhere, I can't 
help emphasizing the dramatic value of "The 
Helping Hand" in the picture of that name. 
The man in the tree did a piece of good to his 
fellow-man by novel means. Nobody saw 
him do it. He wasn't thanked or applauded. 
He saved a home and made two people happy. 
Then he went about his business in a matter- 
of-fact way as if nothing had happened. 



Some good in the world, after all ? A whole 
lot of it. If these two Imp pictures do noth- 
ing more than emphasize this they will accom- 
plish much ; that will justify themselves and 
all other good pictures. Yet in face of the 
enormously valuable lessons which the picture 
is capable of enforcing, and does enforce, we 
have the Brooklyn vaudeville magnate, Percy 
Williams, avowing himself as an enemy of the 
picture, and declaring that he will drive it out 
of Brooklyn. Oh, g'wan, Pussy, me bhoy. 
Why not recognize the fact that there is more 
money in good pictures than in. bad vaudeville, 
which Brooklyn vaudeville mostly is? 




Scenes from "Who Wears Them" 



She discovers that her husband has deceived 
her in order to play cards. When he returns 
home she belabors him with a broom, takes 
away his money and literally sits upon him. 

Harry Pollard and Margarita Fischer plav 
the leading roles. As we told the readers in 



Number One, Miss Fischer acts just like a 
veritable virago, she is all temper, passion, 
rage and fury. 

This comedy will move any or every audi- 
ence to mirth. It is a splendid piece of mov- 
ing picture strenuosity. 




WHO WEARS THEM? 

In a dispute for the possession of the bifurcated garments young Mrs. French 
conclusively proves that she is entitled to wear them 

Copyright 1912 by Imp Films Company 





THERE is no doubt that domestic work palled upon Harry French. He hated 
the job of helping his young wife pack their belongings preparatory to moving 
from their Harlem flat. And Mrs. French was inexorable; she kept Harry hard 
at work. But he intended escaping petticoat thraldom for a time. In the apartment 
below there was a card game threatening and Harry determined to make one. So he 
feigned madness: alarmed his wife and made his escape. Joining the party, he won 
largely and was happy in his success. Mrs. French got wind of Harry's whereabouts 
and surprised him in the act of deception. When he returned laden with the spoil, 
he was greeted with a broomstick attack; deprived of his winnings; physically sat upon 
and informed that his better half "wore them.'' 

on the same reel The TEA INDUSTRY in the UNITED STATES 



2-10-12 



IMP FILMS COMPANY 



102 West 101$t Street, New York 



Carl Laemmle, Pres. 



'fHBEB imps 
,£V£Kf WEEJC 



1 



tfHREE IMPS 
'EVERY W£EJC* 



msi 



THE "IMPLET" 



AN IMP RECORD. 

Cardinal Farley, Archbishop of New York, 
returned to the United States, the possessor 
of the dignity of Prince of the Roman Catho- 
lic Church on Wednesday, Jan. 17th. New 
York gave the Cardinal a royal welcome. His 
Eminence landed in the City at one o'clock. 
He reached St. Patrick's Cathedral at three 
o'clock after an indescribable series of ovations. 
By six o'clock the same evening a 500 fool 
moving picture of the magnificent series of 
spectacles from the Battery to the Cathedral 
was shown in New York City by The Imp 
Films Company and distributed to the exchanges 
the next day. The Imp picture was the first 
and quickest made, outdistancing all compet- 
itors, licensed and independent. 



WHY THEY CANNOT WRITE FOR 
"THE IMPLET." 

The following letters explain why some 
distinguished persons in the moving picture 
held find themselves unable to contribute to 
the pages of "The Implet" : 

Oyster Bay. 

To the Editor. 

Sir : Too bus}- preparing for Third Term 
Campaign to write for your paper. As an 
advocate of Strenuosity. think Three-a-week 
a corking good idea. 

THEODORE ROOSEY— LT. 



White House, Washington. 

To the Editor. 

Sir : Unable to write for your paper, but 
send you a smile. 

WILLIAM HOWARD T— FT. 



Lincoln, Neb. 
To the Editor. 

Sir : Can't write anything until I'm a real 
President, like Laemmle. Shall make a 4th 
attempt for the job at the 1912 Convention. 
Four is a lucky number. There are 478 4's 
in 1912. See? With Four Imps a week and 
me President at my 4th attempt, Laemmle and 
I will be happy forever forthwith. Sha'n't 
we? 

Yours as B4, 

WILLIAM JENNINGS BRY— N. 



CIRCULATION OF "THE IMPLET." 

The Implet" will have the largest circulation 
of any moving picture publication in the world. 

The mailing list at our disposal enables us 
to reach every moving picture theatre in the 
United States. 

It is our desire to send a copy of "The 
Implet" to every moving picture theatre in 
the world. 

If you are not on our mailing list, send us 
a post card with your name and address and 
we will see that you get the paper. 



PHOTOGRAPHS OF THE DIP PLAYERS 

The Imp Films Company, No. 102 West 
101st Street, New York City, are issuing a 
set of photographs of the Imp Players — King 
Baggot, William Shay, W. R. Daly, E. J. 
Le Saint. Ed. Lyons, J. R. Cumpson, H. S. 
Mack, Farrel Macdonald, Margarita Fischer 
and Grace Lewis. The set of ten photographs 
will be mailed to any address for 50 cents. 

Every exhibitor should provide himself with 
a numbet of these sets. He could distribute 
them amongst his audiences as souvenirs. 

See advertisement and coupon on page 2. 



APPRECIATES IMP FILMS 



To the Editor of "The Implet." 

Sir: Believing that credit should be given when 
same is merited just as well as criticism when 
that is necessary is my chief reason for writing 
you this letter. 

The writer of this letter is the same Carl F. 
Miller whose articles are appearing in the Mov- 
ing Picture News, and I invite your attention to 
my article in the Moving Picture New-, issue 
November 18, page 22, also article in Moving 
Picture News, issue December 2, page 33. 

I believe and have believed right along that if 
the exhibitor has a kick coming he should register 
same not with the Exchange, but with the man 
who makes the film. On the other hand, I also 
believe that if the manufacturer is really doing 
all in his power to produce pictures that please, 
then the exhibitor should write and tell the man- 
ufacturer that he and his customers appreciate 
his efforts to produce that which pleases the 
public. 

I believe, if every exhibitor would only let the 
film maker know he is pleased and appreciates 
his efforts to really produce the right kind of 
stuff, that it would act as an incentive to cause 
them to do greater and better things. 

I want to say for the Imp Company that I have 
shown every Imp picture that the Imp Company 
has ever produced, and will continue doing this 
as long as they continue making the excellent 
films the}' have made in the past. 

The exhibitors do not seem to realize how 
much the Imp Company and that man, Laemmle, 
have done for them. Believe me, here is one 
who does. 

I have been an ardent Imp FAN and will con- 
tinue to root for the Imp as long as they are 



in the game. I never have a strike out when I 
have an Imp — it's always a home run. 

They say whenever a man writes a letter there 
is a reason for it — so there is also in this case — 
fact of the matter is there are three reasons, as 
follows: 

1. I want you to know there is an exhibitor 
in Fremont who appreciates your efforts (and 
successful ones, too, by the way) to give the ex- 
hibitor the kind of pictures that get the money. 

2. I want you to know that I appreciate all 
that our friend Laemmle and the Imp Company 
have done to help the Independents to get to the 
top round of the ladder of success. 

3. I want you to know that I appreciate your 
good judgement in not producing any of those 

D Western and Indian pictures, which have 

and are still doing so much harm to the moving 
picture game. 

My best wishes are always with you, and I hope 
that the year 1912 will bring with it the best of 
success that your company is so justly entitled to. 
Respectfully, 

CARL F. MILLER, 
An Imp Booster 24 Hours a Day. 
Wonderland Theatre, Fremont, Ohio. 

(The above letter was sent to the Company, 
but we have ventured to reproduce it in "The 
Implet" as typical of many letters that have been, 
and are constantly being, received in appreciation 
of the Imp films and the Company's policy. 
Reader, if you have anything of interest to your 
fellow-exhibitors which you would like published 
in "The Implet" sit down, like Brother Miller, 
and write us a letter straight from your heart 
and we'll print it. — Editor "The Implet.") 



CALENDAR OF IMP RELEASE DATES 



Monday. January 1 — His New Wife, 



Comedv 



Thursday, January 4 — The Trinity, 



Drama 



Saturday, January 6 — Playing the Game — -Back to His Old Home Town, 



Comedy 



Mnndav. lanuary 8 — The Winning Miss, 



Comedy 



Thursday, January 1 1 — In the Northern Woods, 



Drama 



Cot,,rrl 



January 13 — Cotton Industry (Industrial). How She Married. 



Comedv 



Monday, January 15 — The Deserted Shaft, 



Drama 



Thursday, January 18 — After Many Years, 



Drama 



Saturday, January 20 — The Flag of Distress — I wish I Had a Girl. 



Comedy 



Monday, January 22 — Building the Greatest Dam in the World, 



Industrial 



Thursday, January 25 — The Worth of a Man, 



Drama 



Saturday, January 27 — A Day on a Buffalo Ranch (Scenic), All a Mistake, Comedy 

Monday, January 29 — The Kid and the Sleuth, Comedy 



Thursday, February 1 — The Power of Conscience, 



Drama 



Saturday. February 3 — O'Brien's Busy Day — Brown Moves in Town, 
Monday, February 5— The Helping Hand, 



Comedy 
Drama 



Thursday, February 8— Mrs. Matthews, Dressmaker, 



Drama 



Saturday, February 10 — Who Wears Them (Com edy), Tea Industry, 



Industrial 



CONGRATULATIONS ON "FROM THE 
BOTTOM OF THE SEA." 



To the Editor of "The Implet." 
Sir: 

We wish to congratulate the "Imp" in having 
accomplished such an achievement as producing 
"At the Bottom of the Sea." 

We do not feel that you have made any mistake 
in releasing a 2,000-foot subject. We really be- 
lieve that is what the Independents need — some- 
thing in the way of two and three reel features 
that are features, not only little one-sheet posters, 
but a few 6-foot sheet posters to go with them. 

We are also very much pleased to learn that 
all records have been smashed, and appreciate 
your kind wishes for a clean-up on this film. 

It is not really necessary to push an Imp film, 
as our patrons are always clamoring for ^ame. 

Again assuring you of our hearty support any 
time that you see fit to release anything in the 
way of an extra big feature, and once more ex- 
tending our hearty congratulations, we beg to 
remain, 

Yours very truly, 

CONSOLIDATED FILM & SUPPLY CO., 
By A. Russell, Manager. 
Memphis, Tenn. 



ANSWERS TO CORRESPONDENTS. 

ANXIOUS. — Miss Mary Pickford has returned 
to the Biograph Company. 

JAMES SNOW. — Margarita Fischer is married, 
so you'd better be careful, young feller. Her 
husband's fighting weight is 200 pounds. 

SIMPLETON.— She spells her name Vivian, 
with an "a," not an "e." Nice? Look at her 
picture in No. 4. 

W. B. — Grace Lewis; E. J. Le Saint. 

O. Lord. We don't give the private addresses, 
ages, or favorite flowers of "Imp" favorites. 



THE REEL OF A THOUSAND GIGGLES! 

Coming Soon. Watch for it. Arrange 
for early date ! 

"A Millionaire For A Day" 

Founded on the experiences of a man who 
recently spent all his money in one day 
"to see how John D. Rockefeller feels." 

Approximate length 500 feet 



An Imp — Of Course 








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"INDEPENDENT QUALITY" 

WANT the reader, whoever he is and whatever he is, in the moving picture business, not 
only in this country but every other country in the world, to disabuse his mind of a fallacy 
which has been planted there and, very sedulously and energetically planted there this last 
three years. This fallacy originated at the home of fallacy, No. 80--5th Avenue, New York 

City, and the fallacy was, that nobody outside of a certain group of moving picture manufacturers 

controlled from No. 80— 5th Avenue, could make moving pictures. 

Events have shown that this was a fallacy and, is a fallacy. A thousand days ago there were 
no manufacturers of moving pictures outside the charmed circle of No. 80— 5th Avenue. Now 
there are sixteen. So goodbye to fallacy number one. 

Then the same agency industriously circulated the fallacy that if anybody outside of No. 80-5th 
Avenue tried 'to make moving pictures, they could not make them good enough. This fallacy 
has also been disproved and neutralized by the sixteen independent manufacturers in whose behalf 
this article is written. After a thousand days or more, and at this very moment, the 
second of these two fallacies, viz: that the independent manufacturers are not making, and cannot 
make good moving pictures, is being industriously circulated throughout the United States by 
the agents of No. 80— 5th Avenue. 

I want every picture exhibitor in the United States, either licensed or independent; I want 
every exhibitor in other parts of the world, where there is no such thing as licensed or independ- 
ent, where there is freedom, I want him to act the part of a man and nail down this falsehood, 
viz: that the quality of the independent moving picture is necessarily, naturally, inherently or 
generally inferior to the quality of the so-called licensed moving picture. 

It is not. Just as good pictures are made on the independent side as on the licensed. There 
are just as good stories chosen for a picture, just as good acting, just as good photography. In 
a thousand days the independents have accomplished as much as some of the so-called licensed 
side have done in five times, nay ten times, as long. 

Let the exhibitor get it out of his head that between the best of the independent and the best of the "licensed" 
pictures there is necessarily any qualitative difference. There is not. Anybody who is not prejudiced, anybody 
who is not misled, by the specious fallacies that are dinned into his head by the agents of No. 80~5th Avenue, 
and also let it be stated by No. 200— 5th Avenue, can see this for himself. 

But it is necessary to emphasize this fact in print. There is no other publication in the United States of America 
in which this can be so authoritatively done as in The Implet, and it is done here because The Implet has com- 
mand of authoritative opinion-opinion derived from long study and knowledge, which are the only things that 
give authority. 

Once for all then, let us hear the last of the fallacy that any specially subtle quality attaches to the so-called 
"licensed" picture. It does not. Not to mention the Imp Films Company, there are other independent manu- 
facturers who are turning out motion pictures quite the equal of the best pictures made on the other side. 
Mr. Exhibitor, I want you to absorb this truth — it is not merely a fact, it is not merely a sentiment or belief, it is 
the truth. And when once you grasp the truth and hold fast to the truth you will be going a long step 
towards securing the right to conduct your business in your own way without dictation from No. 80-5 th Avenue 
or No. 200— 5th Avenue. By that means you will be asserting that which is your inalienable right; 
your independence. EDITOR. 

















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THE "IMPLET" 



Qfyt "Ampler 

THE MOVING PICTURE NEWSPAPER 

Edifd by THOMAS BEDDING 
Published at 102 West 101st Street, New York 



SUBSCRIPTION PRICE. $1.00 PER YEAR 
SINGLE COPY, 5 CENTS 

"THE LIE" 
A Washington's Birthday Subject. 

On Thursday, February 22nd, we release a 
fine war-time subject, entitled, 'THE LIE," 
which would be suitable for exhibition on Wash- 
ington's birthday. 

We strongly urge every exhibitor to ask for, 
and insist on having, this great story of military 
life in which King Baggot and William Shay 
play parts of unusual prominence. 



The London Home of "The Imp Films." 



POSTERS FOR THE IMP SPLIT. 

We want the exhibitor to let us know 
whether we shall, in future, issue two posters 
for our regular Saturday split Imp or not. 
As he is aware, one poster would be sufficient 
if the two subjects on the reel were never 
separated. But that would defeat the pur- 
pose of the split reel. 

Now, then, what do you want in this mat- 
ter? Do you want a poster for each separate 
subject on a split, and shall we make them 
accordingly ? 

Let us know, and, besides letting us know, 
let your Exchange know. It is entirely up to 
you, Mr. Exhibitor. 




J. F. BROCKLISS 
the London Agent. 

The London home of the Imps, as shown 
by the accompanying cut, is right in the cen- 
tre of things in London, which is the focus 
of the world's market for the moving picture. 

The Imp pictures, according to Mr. Brock- 
liss, are in better favor than they have ever 
been. The Imp film, "From the Bottom of 
the Sea," struck a new note throughout the 
entire European trade. "It is the best and 
most striking picture the Imp Company have 
ever produced, and has created a sensation 
that is simply world-wide," says Mr. Brock- 
liss. 

Mr. Brockliss, who is one of the most pro- 
gressive men in the European film business, 




adds that at the present moment Imp films 
show greater evidence of becoming the favor- 
ite brand of picture in the British Isles and 
Europe than he has ever before known. 

Mr. Brockliss will be in New York during 
the month of February. He will from time 
to time contribute to the pages of "The Imp- 
let" as European editor. 



CASTS OF THE IMP PLAYS. 



REFLECTIONS FROM THE FIRE- 
LIGHT. 
(Imp Drama, Release Monday, Feb. 12.) 
Written by Dr. J. R. Clemens. 
Produced by F. J. Grandon. 

r> ^ r> f William Shay 

Corporal Raynor j Mr. Middleton 

Lucile Miss Young 



THROUGH THE FLAMES. 

(Imp Drama, Release Thursday, Feb. 15.) 

Written by C. Weston. 

Produced by T. H. Ince. 

Engineer Allen King Baggot 

Mrs. Allen Miss Young 

The Telegraph Operator W. R. Daly 



The Great 
"IMP" SCENARIO CONTEST 

The judges in the Imp Scenario Contest have made the following awards: 

FIRST PRIZE: $100 Miss Louise Carter, New York City. 

"THE RIGHT CLUE." 

SECOND PRIZE : $75 Mr. J. W. Culbertson, Indianapolis, Ind. 

"THE SOUNKVILLE FIRE COMPANY." 



THE TABLES TURNED. 
(Imp Comedy, Release Saturday, Feb. 17.) 

Written by A. Gaudio. 
Produced by King Baggot and W. R. Daly. 

Rose Despard Miss Cummins 

Ralph Despard—- King Baggot 

Dr. Corell W. Shay 



WHAT OKLAHOMA THINKS OF 
"THE IMPS" 

The recent Imp release, "Tony and the 
Stork," is one of the cleverest pictures turned 
out by The Imp Company in a good long 
time, and it made a decided hit when shown 
in a local theatre this week, and we want to 
congratulate this manufacturer on its fine 
qualities. Let them keep up the good work. 
— From "Flickers" (Published in Oklahoma.) 



THIRD PRIZE: $60 Mr. Chas. Ade, 

"THE HOME STRIKE BREAKERS." 

FOURTH PRIZE : $50 Mr. C. B. Hoadley, 

"CHESTY BUYS TAGS." 



Joplin, Mo. 

Weehawken, N. J. 



This contest as already stated attracted world wide attention ; many hundreds of 
scenarios being submitted from both sides of the Atlantic. 

If the contest proved that there is a wealth of material available for film manu- 
facturers it also demonstrated that comparatively few writers have grasped the essential 
requirements of moving picture making. 

A large number of scripts sent in were on well worn themes, a great number were 
impracticable, and an even greater number showed that the writers had not made them- 
selves acquainted with the exigencies of the moving picture stage — its limitations and pos- 
sibilities. 

It is worthy of note that three winners, out of the four, in the contest were exper- 
ienced writers of scenarios, thus proving that success in this branch of work only results 
from close application to the needs of the case. 

It cannot be too widely known that scenario writing is still a comparatively new, as 
it is a specialized, form of literary construction. 

Possibly at some future date the Imp Films Company will hold another contest, par- 
ticulars of which will be duly announced in "The Implet." 

The prize scenarios will be produced by the Imp Films Company, and an announce- 
ment to that effect will be made in course of time. The judges were assisted in their 
work by the Imp Films Company's Directors. 

On page four we print, for the information and benefit of would-be scenario writers, 
the concise instructions issued by the Imp Films Company for the making of a scenario. 
Send yours in to us, reader, we are always glad to consider and pay for suitable stories. 



REFLECTIONS FROM THE FIRELIGHT 

The story of an old love episode which kindles flames in the breasts of a couple long separated. An enter- 
taining tale Of war times. Copyright 1912 by Imp Films Company 



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A SWEET and appealing drama well acted and carefully staged. An old one-armed soldier reads over yellowed love letters and 
they awaken fond memories. He is delighted to receive a letter from his old sweetheart, who is now a widow and he visits her. 
Over a cup of tea their romance is depicted in a pleasing manner. They are shown as youthful lovers, happy and envied. Older 
grown they plight their troth and the young man marches away to war. He is reported among the dead and she yields to the pleadings 
of another man. Her soldier lover arrives home the day of the wedding but does not disclose his identity, not wishing to mar her happi- 
ness. She had supposed him dead until just^prior to the opening of the story. The fond old memories are revived and, with a sigh, the 
veteran turns to go. His romance, he thinks is over. He has loved the old lady but lost her. She follows him to the door and puts her 
arms around his neck and they are both happy again. 2-15-12 



IMP FILMS COMPANY 



ff HREB 
EVER? 



IMPS 
WEEK, 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



YHRBE 
EVERY 



IMPS 
WBHC 



THE "IMPLET 



Imp Players: VIVIAN PRESCOTT 




VIVIAN PRESCOTT. 



Vivian Prescott is one of those baffling and 
elusive personalities which defy description 
and drive the photographer to despair. The 
photograph here reproduced does not do her 
justice, and if J attempted to tell the reader 
what she was like personally I should find it 
extremely difficult. She is just Vivian Pres- 
cott. Thai's all. 

Graduating in an excellent school of mov- 
ing picture acting work, she has entered the 
Imp ranks to play a wide range of parts, in- 
cluding comedy and drama leads. At present 
she is comparatively little known to Imp fans. 
She'll soon be very well known, indeed. Let 
me assure them that Miss Prescott is one of 
the best actresses in the moving picture field. 

At some future time, when the Imp pic- 
tures may also talk, I would like you to hear 
Vivian. She has a most wonderful voice and 
an alluringly electric style. She pervades the 
stage, or the room, wherever she happens to 
be present. 

Still under 21 years of age, but concentrat- 
ing a whole world of experience in her work 
Miss Prescott has a great career in front of 
her with the Imp forces. 

She tells me that she has Italian, English 
and American blood in her veins. If that 
is not "some mixture" likely to make for fine 
moving picture acting, I do not know what is. 

T. B. 



"SIX-A- WEEK-SIX! 

YES, SIR ! ! 

SIX!!!" 

Wish we had a phonographic record of 
this speech, and the questions which provoked 
it, to send to Every Moving Picture Exhibitor 
on Earth. 

The only Living Soul who was privileged 
to listen to those Dulcet Sounds was the 

SPECIAL COMMISSIONER 

of The Imp Films Company, who in the 
one — hundred — and sixty-eight hours (168), 
since No. 3 of "The Implet" was published, 
has interviewed one hundred and sixty-eight 
(168) moving picture exhibitors in the States 
of New York and New Jersey. 

Going Some? Sure, Mike! 

To one of them (168), the proprietor of 
a beautiful 10 cent house in Brooklyn, our 
Special Commissioner said : 

"How many Imps would you like to use 
in your house?" 

The answer is the caption to this article : 
verbatim et liberatim; word for word ; sylla- 
ble for syllable. 

SIX-A-WEEK!!! 

And as sure's your'e born, Sonny, there'll 
be Six Imps-a-Week scudding along the pike, 
in the sweet by and bye. 

Meanwhile, help the good cause by demand- 
ing THREE-A-WEEK. 

Demand 'em NOW. 



HOW TO WRITE A SCENARIO 



A great many people underestimate the re- 
quirements for successful scenario writing. It 
is not merely the conception of a story with 
just some kind of a plot ; the plot must be 
definite. 

The first flash across the brain when one 
writes a play is the motive of the story. The 
prime essential is the idea. It is the essence 
of the plot, but it is without avail if it provides 
no opportunity for silent acting. 

As in a play, the construction of the moving 
picture scenario embodies four stages : Intro- 
duction, development, climax and finale. The 
introduction should group the characters and 
indicate their relations at a glance, for there 
is no time, as in stage representation, to grad- 
ually introduce the dramatis personae and ex- 
plain the plot. 

A point that adds greatly to the possibilities 
of a successful picture is the introduction of 
an element of suspense. This may be in the 
form of either an interrupted situation, or, 
what is considered still stronger, the manipu- 
lation of an anti-climax; that is, a sudden but 
temporary reversal or change of situation be- 
tween the climax and finale. 

In comedies, extremely complicated relations 
should be avoided, not only because this is not 
the best form of comed}% but also for the rea- 
son that this kind of play has run its gamut 
of forms ; and novelties are the making of the 
most desirable pictures. Serio-comedy is the 
most acceptable, with farce-comedy second; 
it will be noticed that both these forms of play 
necessarily entail an absolutely defined plot. 



The moving picture play has altogether out- 
grown themes of single individuals in a series 
of incidents that have no relation to one an- 
other except for the presence of the main 
character. For instance, the mischievous 
small boy in a series of pranks; the victim of 
sneeze powder in various mishaps, the near- 
sighted man, etc. They are all passe. 

The successful novelist or playwright does 
not necessarily make a successful moving pic- 
ture playwright merely by applying the prin- 
ciples of construction. Moving pictures afford 
a new school of composition, and before one 
attempts to write for them he must under- 
stand them. He must go to see them often, 
studying not only the limitations they place 
on the art of acting, but also the possibilities 
of the camera, scenic construction, etc. 

Continuity of events is a feature of the best 
pictures ever made. Avoid these "twenty- 
years after" stories. 

We prefer modern American plays, written 
in concise, narrative form. The average 
length of a film is 1,000 feet, and this takes 
about twenty minutes to show. An entire 
story ought to be clearly told in six hundred 
words, introduced by a cast of characters. It 
is most desirable that material be typewritten. 
Avoid stories that include the portrayal of mur- 
ders, suicides or any form of viciousness ; re- 
member that the moving picture theatre counts 
millions of children among its patrons, and 
young minds are easily impressed. 

Write your name and address plainly under 
the title of the story. 




THROUGH THE FLAMES 

The heroism of railroad engineer in saving the lives of the inhabitants of a burning village is commendable and interesting 

Copyrig ht 1912 by Imp Films Company 





THIS drama is replete with realism and suspense and the finale is watched for with interest. It is a notable film and will please all 
classes. Deeds of heroism and sacrifice are always satisfying and Through the Flames has these two essentials in abundance. The 
wife of an engineer is dangerously ill. A telegraphic message comes from down the road announcing that a village is threatened 
with a forest fire and the lives of the inhabitants are endangered. There is no one else to man the engine and he goes. The driving of 
the engine through clouds of smoke; the burning of the telegraph office and the mad flight of the frightened villagers all combine to intro- 
duce a realism that holds the interest^from start to finish. When the engineer returns from his perilous trip through the flames he finds his 
wife much improved in health and receives the plaudits of his kind neighbors. He is presented with flowers and obliged with an impromptu 
speech of thanks. 2-15-12 

IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



THE "IMPLET" 



REFLECTIONS FROM THE FIRE- 
LIGHT. 

(Imp Drama, Released Feb. 12.) 
The sentiment of this story will assuredly 
commend it to all lovers of the tender and 
pathetic. It is a romance of a middle-aged 
couple and it is true to life. Such things hap- 
pen around us every day. When the old sol- 
dier received a note from a former sweet- 
heart, a widow, who has come to reside in his 
town, hinting that she would like him to call 
upon her, you can well suppose what the 
state of his emotions was. There is a French 
proverb running somewhat to this effect: "We 
always return to our first love." Then: "All 
the world knows that a woman never forgets 
her first love." Here we have the makings 
of a singularly pretty romance in the autumn 
of life. 

So when Arthur Raynor calls upon Mrs. 
Dutton, what is more natural than they should 
fall to talking of old times. Those old times 
were about war time. They were lovers, but 
he was carried away to fight, and in fighting 
he lost his arm. When he got away from the 
war he was just in time to see the girl who 
was to have been his bride leave the church 
on the arm of another man. 

The old couple croon over these incidents, 
which are very finely delineated on the screen. 

Then, when the story is all told they stand 
face to face and the woman makes the next 
move. Womanlike, she has retained through 
all these years a necklace that he gave hei 
when they were young. The conclusion is 
obvious. The old soldier renews his suit, and 
the picture ends with the prospect of a long- 
delayed marriage. 

Like all of Mr. Grandon's pictures, this one 
is very carefully worked out, the staging being 
beyond reproach and the acting flawless. 



THROUGH THE FLAMES. 
(Imp Drama, Released Feb. 15, 1912.) 

There is always fascination in a story which 
deals with life on a locomotive. Whenever 
an engine appears in a picture the audience, 
especially the younger members of it, sits up 
and takes notice. Few pictures, however, 
show the engineer actually at work. It is 
done in this picture. 

The point of the story lies in the heroism 
of the engineer, who. though his wife is ill, 
and dangerously so, does not hesitate to jump 
on his engine and carry relief to the inhab- 
itants of a town which is threatened with de- 
struction by fire. 

The picture shows the engine running 
through the dense smoke at a high rate of 
speed. Having rescued the villagers, Engi- 
neer Allen returns home, where he finds his 
wife out of danger. 

His fellow-citizens are so pleased with his 
bravery that they give him a public congrat- 
ulation. 

The race of the engine to the threatened 
village is a very sensational piece of motion 
picture work. The excitement is sustained all 
through the photoplay. King Baggot again 
shows what a very versatile and hard-work- 
ing actor he is, and W. R. Daly as a tele- 
graphic operator has a strong part. 



THE TABLES TURNED. 

(Imp Comedy, Released Feb. 17.) 

When a woman starts out to punish her 
husband for dallying with another woman she 
should be sure that her method does not re- 



ON THE SCREEN. 
By "Lux Graphicus." 

Competition in picture making assumes 
many guises. There is, for example, competi- 
tion in methods of advertising. In respect of 
this the Imp Company stands in a class by 
itself. Its advertising is universally conceded 
to be the brightest and best of its kind. I am 
only stating a well-known fact that the Com- 
pany is in a position to defy competition and 
ignore imitation. For the Imp advertising, 
like "The Implet," is unique and inimitable. 



Then there is competition of quality, about 
which much might be said. Quality is sub- 
divisible under several heads. There is, first 
of all, the theme, the story. Then you have 
ihe acting ; then you have the settings ; then 
you have the photography. So many things 
go to the making of the picture. 



But one of the most curious forms of com- 
petition is what I will designate as the com- 
petition of the "Dollar mark." Pictures are 
recommended to the Exchanges and the ex- 
hibitors, and through them to the public, sim- 
ply because they cost so many thousands of 
dollars. I could quote examples at this mo- 
ment of pictures which are being recommend- 
ed solely on that ground. 



Of course, the more money you spend on a 
picture the better it should be all the way 
through in respect of story, settings, acting, 
photography and other things. But when all 
is said and done, one is led to ask oneself 
whether the popularity and success of a mov- 
ing picture is always proportionate to the 
amount of money that has been spent in the 
making of it. This opens up another ques- 
tion, whether it is obligatory to spend lots of 
money for the making of good motion pic- 
tures which attract and satisfy the public. 



From a personal view I must say I have 
never been attracted by a picture simply be- 
cause a huge sum of money had been spent 
upon it. Spectacle in a picture is pretty to 
contemplate and may be desirable to have, 
but, in my opinion, the most valuable attribute 
a moving picture can have or display is hu- 
man action and human motive. I want some- 
thing which interests, holds and absorbs me. 



Looking back upon a long experience of 
picture viewing, it is astonishing with what 
apparently simple material the picture maker 
may achieve this end and secure the favor of 
the public throughout the world. Some of 
the most successful plays on the stage have 
been those with comparatively few characters, 
comparatively simple settings. Great modern 
dramatists like Pinero, Shaw, Bernstein, Fitch 
and Parker secure their best efforts by com- 
paratively simple agencies, or, rather, what 
look like simple agencies— the power of the 
acting and the story. 



So it often is with moving pictures. I have 
mixed with and studied audiences here and 
in the East, from Chicago to New York, in 
moving picture houses, and I have observed 
that their applause and interest has been chief- 
ly attracted by pictures which rely not upon 
crowds of supernumeraries and gorgeous ap- 
pointments for their success, but upon com- 
paratively few characters and simple natural 
surroundings. 



I believe this will always be the case. 
The picture is very like the short story of the 
world of fiction. It is concise, direct and con- 
centrated. Like the short story, it condenses 
much matter into a little space, and, therefore, 
is popular with the busy public. Again, you 
might compare the picture with good one-act 
plays. The good one-act play gives you in 
twenty minutes all that you need in the way 
of dramatic entertainment. It condenses 
three hours' work into a ninth of the time. 
This is why the people like it. 



Just as your short story, as a rule, neces- 
sitates comparatively few characters, so does 
your one-act play, and so in many cases does 
your moving picture. Here we have a reason 
for the popularity of all three and a reason 
why in a special sense it is not essential that 
for a picture to get over with the public it 
must involve an outlay of large sums of 
money. There are exceptions to this rule, but 
in the generality of cases it may be accepted 
as certain that the public do not expect man- 
ufacturers to spend large sums of money in 
order to win success. Equally so the fact 
that large sums of money are spent occasion- 
ally is no guarantee of success. 



coil upon herself. Rose Despard was not 
sure, otherwise she would never have acted 
as she did. 

She feigned madness in order to get level 
with her husband, whom she thought was 
flirting with another woman. The scheming 
maid puts the husband wise to the position 
of affairs, and suggests that he should try 
madness, and so he does. He went very mad, 
indeed. So mad that his wife really became 
alarmed for his safety. And so he was put in 
a sanitarium, and there he had a terrible time, 
being finally given an ice bath and reduced 
to such a state of physical wreckage that when 
his repentant wife, who had, of course, discov- 
ered the gravity of what she had done — when 
the distracted girl arrived to release him from 
the sanitarium he was pretty much all in. 

This is a splendid example of a refined, 
rapidly acted, consistent comedy, which Imp 
audiences all over the country will appreciate. 
There is action and movement all the time. 
The story does not hesitate or lag. 

King Baggot, William Shay and Miss Cum- 
mins carry along the action vigorously and 
decisively, and it gets "well over." 




Scene from "The Kid and the Sleuth" 




THE TABLES TURNED 

In paying back her flirting husband in his own coin, a jealous young wife 

suffers much agony of mind 



Copyright 1912 by Imp Films Company 




ROSE DESPARD saw her young husband holding an interesting conversation in his office with 
another young lady. Enough for her. Jealousy immediately began its pernicious work in 
her mind. Home she goes and confides her troubles to her maid. This shrewd young 
woman sees a chance of ingratiating herself with her mistress and making a few extra dollars on the 
side. So she advises Mrs. Despard to feign madness in order to bring hubby to his senses. When 
Ralph Despard arrives home things wear a terrible aspect. Here is the maid's chance. She persuades 
the husband to feign insanity in return in order to cure his wife and is rewarded for the suggestion by 
Ralph, who then behaves so very madly that Mrs. Despard has him conveyed to a sanitarium, where 
he is so roughly handled that he nearly dies. When poor Mrs. Despard learns the truth, she hurries 
off to the sanitarium, obtains the release of her husband, upon whom she has so completely turned the 
tables, and endeavors by her endearments to atone for her mistake. 

King Baggot as the husband; William Shay as the Sanitarium Manager and Miss Cummins as Rose 
Despard keep the fun going fast and furious. 



On The Same Reel 



The Savannah Pushmobile Race 



2-17-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



>f HREB imps 
-ffERT WEEK. 



'fBMS imps 
'EVERY WEEJC 



THE "IMPLET 



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WHY 



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Sir: 
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THEY CANNOT WRITE FOR 
"THE LMI'LET." 

East Orange. 
Editor. 

So busy inventing a new concrete 
which nobody can infringe that I 
time to write you an article on "How 
t Invent the Moving Picture." See 
now putting out three a week? Think 
gel in Three ($) A WEEK from 
rs — if I can. 

THOMAS ALVA ED-S-N. 



Broadway, New York City. 
To the Editor. 

Sir: The precarious state of health of Old 
General Flimco necessitates my constant per- 
sonal supervision of the patient, so with re- 
gret I am unable to contribute to the pages 
of "The Implet." Another thing, I regard 
That Man Laemmle as a • 

(Remainder of letter suppressed.) 

I. 1. K-NN-DY. 



Fifth Avenue, New York City. 
To the Editor. 

Sir : AYe are in receipt of a communica- 
tion expressive of your intention to produce 
a publication, entitled "The Implet." This is 
an infringement of our Patent Reissue No. 
123456789 of December, 1911, and we there- 
fore give you notice that we shall at once 
move the Supreme Court of the United States 
to have the publisher and Editor Laemmle 
and Bedding jailed for contempt of court. 

MOTION PICTURE PATENTS CO., 
By F. L. Dy-r. 



Chicago. 
To the Editor. 

Sir : Sorry can't write. Too full of joy. 
Got the "ClNKS"!!! Saved me from going 
Independent — which I couldn't afford to do ! 
Love to Laemmle ! 

GEORGE KL-NE. 




The Imp Films Company, with offices in 

New York, Chicago and a dozen European cities, uses ten 
thousand letterheads a week — or 520,000 a year — sometimes 
many more than that. The company uses OLD COUNCIL TREE 
BOND exclusively, and the reasons President Carl Laemmle gives are these: 
"The men that I write to are wide-awake and very much up-to-date. If 
I addressed them on inferior stationery they'd get sore. They would 'regard it as 
business discourtesy. For example, not long ago — before I started to use OLD 
COUNCIL TREE BOND — a patron from the East wrote to me saying: 'If you want 
people to think you are not some backwoods concern you'd better change that letter- 
head of yours and get one that looks like something.' 

"Now, this may seem like a trivial thing to merchants, but thousands of dollars worth 
of bviintss depends upon just such things as this. 1 want a sort of personal, dignified, classy atmo- 
sphere about the paper I use in correspondence, and these elements arc absolutely lacking in the 
stock ordinarily used in extensive correspondence. I regard every letter as a direct advertisement, 
ncss sense to make it just a 



Correspondence is conversation reduced to writing. You wouldn't call on a business 

man in a soiled shirt and a shabby suit of clothes. Then why send a letter, iMicA is your rcprtsrnta- 

tire, on an inferior, undignified grade of paper ? That kind of economy Is waste, and you can't 
make anything else out of it. 

Mr. Laemmle has just placed his order for two million letterheads printed on OLD 
COUNCIL TREE BOND. He uses the goldcnrod shade. 

Telephone to our Chicago office. Central 6186, 
and our representative will call with samples. 



Neejsiah Paper. Company 

Ncenah, Wkt. U S. A. 



THE above advertisement, which in its origi- 
nal size was six times as large as this re- 
production, was recently published in the 
Chicago Tribune and other metropolitan news- 
papers as well as in some of the standard maga- 
zines. Next time you're in need of stationery 
or paper for any advertising purpose write to the 
Neenah Paper Company, Neenah, Wis., and 
ask them to send you some samples and prices. 
CARL LAEMMLE. 



They Like "The Implet" and "The Imps." 



Defiance, Ohio, January 23d, 1912. 
To the Editor. 

Sir: Received the first issue of "The Implet" 
and wish to congratulate you not only on your 
salutatory, from which your innate modesty fair- 
ly oozes, but on your peroration and on the idea 
and mission of "The Implet." 

I have been "featuring" Imps for nearly two 
years, and it is no josh to say that almost with- 
out exception an Imp is a feature film. 

To those of us who know the Imp films youi 
little sheet will no doubt materially aid and fur- 
nish "catch lines" and suggestions for advertis- 
ing purposes that will be noticed in the box 
office. 

Here's to the continued success of the superb 
Inil'- and the success of your most fantastic and 
fanciful dreams for "The Implet." 

I also wish to thank you for the kind words 
written of my old-time friend and chum, C. B. 
Hoadley, a bright, brainy fellow and an honest 
man. and I sincerely trust you will have occa- 
sion to repeat what you write in the first issue 
many, many times. We pack 'em in whenever we 
get one of C. B.'s stories, for he is still very pop- 
ular here. 

Don't overlook me, B. F. Enos, in the mail list 
of "The Implet.". and of any other good tiring 
you know that I ought to know. 
Sincerely, 

B. F. ENOS, 
Manager Lyric Theatre. 



To tlie Editor. 

Sir: Kindly let me have one of your books, 
entitled "Brickbats and Bouquets." I am a lover 
of Imps for talking, and will say that they have 
never failed me in my line of business for two 
years. When I have a full booking of Imps my 
mind is at ease. 

Yours respectfully, 

JACK STIX'SOX. 

Care of Xcw Comedy Theatre, Broadway and 65th 
Street, New York City. 

P.S. — Regards to Mr. Baggot, my favorite lead. 



January 24th. 1912. 

To the Editor. 

Sir: I am receiving "The Implet" regularly and 
find it a very useful and interesting periodical. 
I wish you and "The Implet" much success, and 
hope to see it every week. 

Your "Cast of Imp Plays" is a good thing I 
think, and quite interesting, too. 
Yours very truly, 

J. S. ALEXANDER. 

Library of Congress, Washington, D. C. 



CALENDAR OF IMP RELEASE DATES 



Monday, January 1 — His New Wife, 



Comedy 



Thursday, January 4 — The Trinity, 



Drama 



Saturday, January 6 — Playing the Game — B ack to His Old Home Town, 
Monday, January 8 — The Winning Miss, 



Comedy 
Comedy 



Thursday, January 11 — In the Northern Woods, 



Drama 



Saturday, January 13 — Cotton Industry (In dustrial), How She Married, 
Monday, January 15 — -The Deserted Shaft, 



Comedy 
Drama 



Thursday, January 18 — -After Many Years, 



Drama 



Saturday, January 20 — The Flag of Distress — I wish I Had a Girl, 



Comedy 



Monday, January 22 — Building the Greatest Dam in the World, 



Industrial 



Thursday, January 25 — The Worth of a Man, 



Drama 



Saturday, January 27 — A Day on a Buffalo Ranch (Scenic), All a Mistake, 



Comedy 



Monday, January 29 — The Kid and the Sleuth, 



Comedy 



Thursday, February 1 — The Power of Conscience, 



Drama 



Saturday, February 3 — O'Brien's Busy Day — -Brown Moves in Town, 



Comedy 



Monday, February 5 — The Helping Hand, 



Drama 



Thursday, February 8 — Mrs. Matthews, Dressmaker, 



Drama 



Saturday, February 10 — Who Wears Them (Comedy), Tea Industry, 



Industrial 



"THE CHICAGO TRIBUNE" ON IMP FILMS. 

Carl Laemmle, president of the Imp Company, 
who recently returned from a tour of Europe, 
brought back new ideas for the motion picture 
business which will advance American produced 
films to the artistic standard of those made in 
the Old World. 

"The trouble with American films so far has 
been the lack of good detail," said Mr. Laemmle. 
"In Europe every actor in the pictures is a real 
actor. By this I mean that in the mob scenes 
the figures in the background are all experts in 
the art of silent acting. Every small 'bit' is por- 
trayed with faithful exactness by those who are 
merely members of the multitude. It is this that 
gives European films their air of finish, as if the 
effect were being presented on a real stage. We 
American producers must not confine our atten- 
tion to the main features and the big results. 
We must take care of the small things, and that 
means high-class companies of supernumeraries." 

The same great paper says: 

"A film illustrating the dangers and thrills of 
life on a submarine boat is now in circulation, a 
product of the Imp Company. A romantic and 
heroic stoiw is intermingled with the workings 
of the under-seas vessels. In the drama the craft 
is trapped at the bottom of the ocean, and as it 
is in shallow water the first lieutenant is able to 
swim to the surface and bring assistance to his 
imprisoned comrades. It is due to the villainous 
efforts of a foreign rival of the naval officer that 
the lever which controls the raising of the ship 
is lost." 



"ALL A MISTAKE." 

A large audience at a First Memorial Meth- 
odist Episcopal Church recently was horrified 
when, at a moving picture entertainment under 
the auspices of the pastor, a film showing the 
"Serpentine Dance'" by women in tights, was 
thrown on the screen. It took the pastor and 
the congregation a few moments to grasp what 
sort of picture was being shown. Then they set 
up a protest that brought the show to a close. 
The pastor of the church announced that a mis- 
take had been committed somewhere, and ordered 
the operator of the picture machine to show nc 
more pictures. 



THE REEL OF A THOUSAND GIGGLES! 

Coming Soon. Watch for it. Arrange 
for early date ! 

"A Millionaire For A Day" 

Founded on the experiences of a man who 
recently spent all his money in one day 
"to see how John D. Rockefeller feels." 

Approximate lrn^th 500 feet 

An Imp—Of Course ! 




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N Monday, January 29th, the New York Exhibitors held their great ball 
in New York City. There were between 2000 and 3000 people present. 
Everybody who is anybody in the New York Moving Picture Field was there, 
but it was an Independent gathering. The New York Society is the local 

manifestation of the spirit of independence which animates the moving picture field in 

this country. 

Here is the leading feature which characterized this great event. Part cf the program 
consisted of the display of moving pictures. These moving pictures were the product of 
Independent Manufacturers; there was not a single licensed picture shown. 

When the Imp picture, "THE WORTH OF A MAN" was shown it was vocif- 
erously applauded by the thousands of persons present. When a particularly good 
National, Thanhouser or other picture was shown it was also applauded. We are not 
selfish on this paper. We recognize there are other good independent pictures as well 
as the Imp. And there is room for more, many more. 

The whole point of this article is an insistent repetition of what we said last week, viz: 
that the splendid moving pictures which are made by independent manufacturers supply 
the needs of exhibitors all over the country. 

But the exhibitor is largely kept in ignorance of this fact by the Machiavellian opposition 
policy which silences the truth by heavy advertising subsidies. The only paper that 
is not open to accept the advertising contract which imposes silence is The Implet. 

There are, we are happy to know, many large exhibitors' associations in other parts of 
the country besides New York. To these we say, whenever you get together, get a 
show of independent pictures; have as large a gathering as you can to view them, call 
in the public if you can, and will; at any rate fight the fight on the quality basis. First 
of all, get yourselves persuaded of the fact that the independent manufacturers are mak- 
ing moving pictures every bit as good as those made by their competitors. 

As we said last week, this will be the first step towards independence and an apprecia- 
tion of independent quality. The next step will be an insistence on having Independ- 
ent Pictures. 

EDITOR. 







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THE "IMPLET" 



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^Ttje "3mplet' 

THE MOVING PICTURE NEWSPAPER 

EJUtd by THOMAS BEDDING 



Published at 102 West 101st Street, New York 



SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY. 5 CENTS 



"THE RIGHT CLUE." 

Imp's $100 Prize Scenario to Be Filmed. 

On Saturday, March 2, we shall release a com- 
edy entitled, "The Right Clue." This scenario 
was written by Miss Louise Carter, who won the 
first prize of $100 in the recent Great Imp Scen- 
ario Contest. 

Ask your exchange for "The Right Clue" — the 
Imp's $100 Prize Scenario Comedy. 



"Royal Reports" is the name of the ably edited 
independent moving picture monthly published by 
the Royal Theatre Co., Marion, Ind. Dolly Spurr 
is the editor, and a very fine editor, too, for 
"Royal Reports" is newsy, gossipy and bright. 
Our hat is raised to you, Dolly. 



APPRECIATES MARGARITA. 

The girl who took the leads in Imp, "The Girl 
and the Half-back," "Her Portrait," "The Trin- 
ity," and several other late releases, is Margaret- 
Fisher. Oh! we beg your pardon, we should say 
"Margarita Fischer," which we are advised is the 
correct way to spell it. Leaving the spelling of 
"Margarita's" name out of the question, we think 
she is some "beautiful doll," and ought to become 
a big favorite. What sayest thou? — "Royal Re- 
ports" (Marion, Ind.). 



CASTS OF THE IMP PLAYS. 



"A MODERN HIGHWAYMAN." 

(Imp Drama. Released Monday, Feb. 19, 1912.) 

Written and produced by Otis Turner. 
NOAH PRESCOTT (an inventor) . .King Baggot 

WM. STEELE (a manufacturer) W. R. Daly 

ALFRED JAKES (his clerk) Wm. Sha> 



"THE LIE." 

(Imp Drama. Released Thursday, Feb. 22, 1912.) 

Written by A. Casselbaum. Produced by King 

Baggot and W. R. Daly. 

CAPT. ROBERT EVANS King Baggot 

LIEUT. HOBSON Wm. Shay 

EDITH HOBSON Lottie Briscoe 

"THE BROKEN LEASE." 

(Imp Comedy. Released Saturday, Feb. 24, 1912.) 

Written by Sidney Frankland; produced by F. S. 

Walsh. 

WILLIAM GLEASON J. R. Cumpson 

MRS. GLEASON Grace Lewis 

THE LANDLORD H. S. Mack 



"ICE BOATING ON THE SHREWSBURY 
RIVER, N. J." 

On the same reel as the Imp Comedy Release, 
"The Broken Lease," Saturday, Feb. 24th, is a 
picture entitled "Ice Boating on the Shrewsbury 
River, New Jersey." This consists of an exquisite 
series of views of this novel sport. 

During the severe weather of last January some 
races were arranged upon a frozen lake in 
Shrewsbury, and we see the beautiful ice 
boats gliding across the smooth ice surface at 
great speed. There are also races between ice 
boats and automobiles. The lads brought out 
their miniature ice boats and had races amongst 
themselves. 

Some exceedingly fine effects of the great white 
sails against the dull wintry sky and some re- 
markable studies in photography of ice and snow 
are shown. 

There is a crispness and a sparkle in these ice 
yachting pictures which are irresistibly attractive 
and convey the most delightful sensation of real- 
ism to those picture fans unable to participate 
in this novel and exciting sport. 



The Imp Californian Releases 

On Thursday, February 29th, we release the first of a series of pictures made 
by l he Imp Films Company's western forces, at present located in Los Angeles. The 
Director in charge is Frank J. Grandon and the members of the company include 
Margarita Fischer, leading woman ; Henry Pollard, leading man ; E. J. Le Saint, char- 
acter ; Ed. Lyons, comedian; Ben Horning, character ; E. L. Kelly, juvenile man, and 
Louise Crolius. 

The smaller view shows the Imp stage and the members of the working force 
and the large picture is a still illustrating the February 29th release, "THE ROSE OF 
CALIFORNIA." 

This story, which was written and produced by Mr. Grandon, will be fully 
illustrated and described in No. 6 of The Implet. It deals with the hive affairs of a 
young American Government official and a beautiful Spanish girl. It is the first of a 
series of strikingly beautiful subjects which the Imp Films Company is making in 
California and will form the regular Thursday release for some time to come. 

The settings and photography, the acting and the costumes are beautiful in 
the extreme. 

AVe strongly recommend exhibitors all over the world to make a note of the 
Imp Thursday Californian pictures. They are something out of the common, they are 
the top-notch in the way of beautiful photography and artistic settings, made in the most 
romantic region in the United States. You have mission architecture, dating back to 
1771 ; mountain scenery, you have wild and romantic landscape, and against this 
superb background, you have finely acted stories by the best acting company in the 
world, directed by one of the most masterly producers of his age. 

Everybody who has seen "THE ROSE OF CALIFORNIA" is enthusiastic about its 
effectiveness and beauty. It will capture the hearts of everv moving picture audience 
where it is shown. It will linger in the memory. It will increase the fame of the Imp 
films as the most popular, attractive and varied films in the world. 

Demand the Imp Californian releases ! 



The Imp Films Company's California 
Studio, at Los Angeles 




A MODERN HIGHWAYMAN 

An old inventor is robbed of his patent rights in a valuable invention but is finally 
rewarded for them by the instrumentality of a little child. 

Copyright 1912 by Imp Films Company 





OLD Noah Prescott was a mechanical genius, who had passed some of the most valuable years of his life in the em- 
ploy of William Steele, who had made a reputation and amassed a fortune as a manufacturer cf labor-saving de- 
vices. Noah's triumph— the effort that was to provide him with sufficient money to ease his old age, was the 
invention of a vacuum street cleaning machine. When the model was perfect, Steele agreed to foim a partnership with 
Noah and to assure him patent protection at Washington. Shrewd and unscrupulous, Steele thus got the game in his own 
hands and it was not difficult for him to play double; to persuade the Washington authorities that Noah was not the real 
inventor and that he, Steele, was. Unfortunately Steele was not so careful as he might have been of documentary evi- 
dence proving that Noah was the real inventor. These papers were lying about in Noah's humble home whither he re- 
paired after being dismissed by Steele. To increase poor Noah's troubles a little boy and girl were sent him as a legacy. 
The kind hearted fellow tended the little children with all a father's care and gratified tiny Ruth by stuffing her broken 
doll with some fragments of paper taken from a waste paper basket. Steele got out his machine and was acclaimed by 
the Press as a great inventor but his clerk was suspicious of him and at a visit to Noah's home discovered that some paper 
which came out of the little girl's doll supplied sufficient evidence proving Mr. Steele to have been a purloiner of Noah's 
ideas. Confronted with this evidence, therefore, the manufacturer was compelled to disgorge some of his profits to the tune 
of $100,000. So poor Noah and his young charges were made happy by the money. 2-19-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



Yhree imps 
^V£RY WEEK, 



22*B£§ imps 
■ EVERY WEEKU 



Wl 



THE"IMPLET" 



Imp Players: 

W. R. DALY 



W. R. Daly is one of the towers oi strength of 
the Imp Films Company. He is by common con- 
sent conceded to be the finest all-round actor in 
the moving picture field to-day, and his versatility 
is remarkable. Just think for a moment of the 
wide gulf that separates the character of the 
burlesque villain in "The Kid and the Sleuth,'' the 
very fantastic travesty, released January 29th, and 
that of William Steele in "The Modern Highway- 
man." Then, if you like, throw in the character 
of O'Brien in order to still further get a line on 
Daly's versatility. 

In the character of the villain in "The Kid and 
the Sleuth." Daly is burlesquing his own art, 
which is properly exemplified in the character of 
Steele in '"The .Modern Highwayman." In the 
character of O'Brien he is a comedian pure and 
simple. 

Personally, Mr. Daly is quiet, reserved and 
modest. The last man of whom Daly likes to 
talk is Daly. He is essentially a hard worker, 
and a conscientious worker. Whenever you see 
Dal}' in a picture be sure that you will have a 
finished performance. He is a master of detail; 
wonderfully skillful in the art of make-up, and, 
therefore, extremely clever in disguising himself. 
One of the most frequent compliments paid to 
Mr. Daly, when a picture is being shown, is the 
question: "Why, is that Daly?" "That" being 
such a perfect disguise that, unlike other moving 
picture actors. Mr. Daly is not easily recognized 
on the screen. 

I would like to be able to tell you more about 
Mr. Daly. I asked him to tell me more. But. as 
1 have already stated, I cannot get him to talk 
about himself, and so the reader must be content 
w r ith this perfunctory appreciation of a very fine 
artist and a loyal member of the Imps Films 
Compan)''s acting force. 

T. B. 





The Thursday Imps 

"The Rose of California" the first Imp Califor- 
nian release, is, it will be perceived, dated for a 
Thursday. It is our intention to confine our other 
Californian releases to this day of the week. 

The "Thursday Imp" has acquired the character of 
being strong and dramatic — the subjects being spe- 
cially chosen for their heart interest and the oppor- 
tunity they afford the Imp Companies for putting in 
some of their best acting work. The result is that 
the Thursday Imp has made a position in the film 
world distinctively powerful and popular. 

The second Californian release is devoted to a theme 
of this nature. The story is infinitely touching and 
at the same time infinitely powerful. An old G. A. 
R. veteran is invited to take up his abode with 
his married daughter and her husband. The sur- 
roundings are agreeable enough, but in his dreams 
the veteran lives his old life over again. The call of 
the battle-field is upon him : his fellow veterans 
beckon to him and, so in the end, he leaves his 
daughter's home and returns to his cronies in the 
barracks, where he and they can amuse themselves 
by fighting their battles o'er again. 

Just see this picture and it will hold your interest 
through even- inch of the film. 

That is what every Thursday Imp does. 

It is always full of power. 

It is always intensely dramatic. 

It is always a splendid offering. 

We want exhibitors, as they have acquired the habit 
of asking for the "Saturday split," to get into the 
way of talking about the Thursday Imp and to also 
get into the way of impressing its importance and 
power upon their audiences. Induce your audiences 
to get the Thursday habit — the Thursday habit of 
studying the Thursday Imp dramas ! 



Scene from "THE ROSE OF CALIFORNIA" the Imp First Californian Release. 



THE LIE 



A gallant young Northern soldier undergoes a severe struggle between love and duty 

and tells the lie which solves his problem. 



Copyright 1912 by Imp Films Company 




IT is war time and the brave Northern Captain Robert Evans goes away to take his 
place on the field. And before he does so he bids adieu to his pretty Southern 
sweetheart, Edith Hobson. As victory after victory attends the Northeners 
despair grows in the South. Lieutenant Hobson, Edith's brother, who is, of 
course, fighting on the Confederate side, is a fugitive from Grant's men. After many 
desperate wanderings and adventures he takes refuge in his own home. Thither come 
Captain Evans and his men in search of the fugitive. He is admitted to the room 
where the wounded man lies. Instantly he realizes the gravity of the problem. Shall 
he arrest the wounded brother of his fiancee, or shall he not? He decides on the lat- 
ter course and returning to his men he tells them "the lie," viz: that the man whom 
they were pursuing was not in the house. So the poor hunted wretch escapes, presum- 
ably to recover and to interpose no barrier to the marriage of the victorious Northerner 
and his sister, Edith. 



2-22-12 



, >f HREE Imps 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



tfHRE§ imps 
EVERY WEEIC 




THE "IMPLET" 



"A MODERN HIGHWAYMAN." 
(Imp Drama. Released Monday, Feb. 19, 1912.) 

The picturesque highwayman of romance is 
dead. So is the highwayman of fact. The high- 
wayman of romance was a gaily attired, well- 
mannered criminal who masked his face, danced 
with ladies whilst he robbed their husbands, and 
generally was built on composite lines. He was 
a mixture of good and evil in about equal propor- 
tions. If he robbed the rich, he gave to the poor. 
That was the highwayman of romance. The 
highwayman of fact was a vulgar thief, frequently 
a bully and generally a coward. 

But the word "highwayman" survives to mean 
a class of mind which steals other person's ideas. 

And this is the theme of this very powerful and 
skillfully worked out Imp drama. The old in- 
ventor is robbed of the fruits of his brain by an 
unscrupulous manufacturer. Poetical justice _ is 
accomplished by the intervention of a little child, 
whose doll is stuffed with papers conclusively 
proving the guilt of the highwayman, who is made 
to disgorge a proportion of his ill-gotten gains. 

The story is clear and convincing, and it sup- 
plies fine acting material for King Baggot as old 
Noah Prescott. the inventor; W. R. Daly, as the 
unscrupulous William Steele, and William Shay 
as an agency which was instrumental in righting 
the wrong. 



"THE LIE." 
(Imp Drama. Released Thursday, Feb. 22, 1912.) 

A story of war time, which is being released on 
Washington's Birthday, should make a special 
appeal to patriotically inclined audiences of the 
moving picture theatre on that day. 

The conflict between the North and the South 
is shown in various scenes, though it does_ not 
supply the main theme for this intensely exciting 
offering. 

When the young officer fighting on the North- 
ern side discovers, after a series of moving inci- 
dents, which culminate in the capture of the 
Confederate fugitive, that the latter is the brother 
of the woman with whom he (the Northern offi- 
cer) is in love, he is confronted by a very hard 
problem. The strict letter of duty would mean 
that he should arrest the hunted Southern soldier 
and thus bring sorrow upon his fiancee and the 
other members of her family. But he gallantly 
shuts his eyes to the truth and takes the respon- 
sibility of persuading his men that the fugitive, 
whom they were seeking, was not in the house. 

This story is acted with decision and conviction 
throughout. There are some very thrilling scenes 
in it. It has a military atmosphere, and the set- 
tings, photography and the general details of the 
play have been well thought out and skillfully 
represented in the film. 

"The Lie" may be very emphatically commend- 
ed to the notice of the exhibitor desirous of 
giving his patrons on Washington's Birthday a 
fine piece of romantic, dramatic work which will 
appeal to their hearts and sympathies. 

King Baggot does great work as the Northern 
officer, and William Shay gives a vivid portrayal 
of the Southern soldier. 



"THE BROKEN LEASE." 

(Imp Comedy. Released Saturday, Feb. 24, 1912.) 

The tradition of the Imp Saturday release is 
well sustained in this comedy of "The Broken 
Lease." It is an ingenious story. Just fancy 
yourself in the place of a man who, having taken 
a lease of an apartment, finds himself appointed 
to a position in a distant part of the world. The 
landlord won't break the lease. You must get 
out, and you want to get out by honorable 
means. 

If you adopt the expedients utilized in this film 
you will get out with peace and honor. The man 
in this story just made himself politely disagree- 
able to his neighbors, and, as they could not 
tolerate it, they complained to the landlord, who 
gave the tenant what he most desired, his freedom. 

The story is carried along in a series of brisk 
and highly humorous scenes, in which husband 
and wife are made to appear at cross purposes 
for a time. 

Mr. Cumpson shines as the tenant anxious to 
leave. It is pure comedy all the way through — 
bright, refined, humorous, and rational. There is 
nothing of the absurd in it. It is strikingly hu- 
morous. "The Broken Lease" is another Imp 
comedy success. 



ON THE SCREEN 



By "Lux Graphicus." 



Maude Barrymore is getting so interested in mov- 
ing pictures that the dear girl will insist, whenever 
she sees me in Central Park, on telling her chauf- 
feur to stop, in order that she may give me her 
ideas on the subject which is uppermost in her mind. 
You will remember that I told you in No. 1 of 
"The Implet," that Maude Barrymore is a world- 
famed actress at present entrancing New York City 
on the talking staee. And she is acute enough to 
perceive that one day even she may have to appear 
in the silent drama. 



At present, however, Maude is making much 
wealth. So she can afford to live on Fifth avenue 
(near where I live) and to drive the sassiest limou- 
sine you ever saw. But with an eye to the future, 
she has taken up as a hobby the study of the pic- 
ture with the view to one day becoming, she hopes, 
an Imp leading lady. 



"Why, Luxy," said Maude to me as she leaned out 
of her car, "1 never thought there was so much dif- 
ference between the various kinds of moving pic- 
tures as there is. Pictures seem to vary just about 
as much as plays do. You know what I mean. A 
Belasco production on the regular stage is as much 
superior to a Brooklyn-produced drama as some pic- 
tures are to others." 



I assured the dear girl that I understood her and that 
I hoped she would continue her investigations a little 
farther. "Oh! but," continued Maude, "I am invest- 
igating a whole lot. For example, Luxy, some of 
those European pictures that I have been looking at 
do not appeal to my dramatic sense at all. They 
have nice settings and are sweetly photographed, 
but the acting is so slow and deliberate that they 
make me tired to look at. And then, you know, 
Luxy dear, some of the subjects are hardly fitted for 
our audiences, are they, now?" 



"What about the Imp pictures, Maude?" I asked. 
She turned her bright and beautiful orbs full upon 
me and smiling her sweetest smile said, "Luxy, I will 
make a confession to you. I think the Imp pictures 
are the best acted pictures in the world and that is 
why I cherish the ambition to be (one of these days, 
when Broadway has no further use for me), an Imp 
leading lady. Honest, Luxy, I do." 



"Your people certainly can act and do act. Your 
scenario writers should be very grateful to your 
actors and actresses for they always make the most 
of their stories. 



"And then you must certainly have some very great 
producers to get such splendid results out of your 
actors and actresses. They always seem to me to 
get into the very skins of the parts that they play. 
I declare to you, Luxy, that I, myself, have become 
something of a matinee idol worshipper in the pic- 
ture theatre. I just love to sit and watch Mr. Bag- 
got, Miss Fischer, Mr. Shay, Miss Prescott, Mr. 
Daly and Miss Lewis. They are so thorough in their 
work and seem to like it so much. You know, 
Luxy, it is not every actor or actress on the regular 
stage that even seems to like their work. It is alto- 
gether different with your Imp pictures." 



Maude said a whole lot more than this at the 
interview I am briefly recording. I have not the 
space to print all the dear girl's utterances. Before 
she sped away from me to take her luncheon at 
thej- Plaza, she made one other remark about the 
Imp pictures which I must put in, although the 
printer, man is grumbling about the necessity of hav- 
ing to squeeze so much into so little. "The best 
thing of all, Luxy dear," said Maude, "about your 
Imp pictures is that they are always clean and 
wholesome. I need never hesitate to take my highly 
respectable grandmother or my Irish maid to see an 
Imp picture. Ta-ta ! Give my love to all the Imps 
and Impesses. I hope to see you at the opera when 
Tetrazzini sings 'Lucia'." I always spend my free 
evenings in the diamond circle of the Metropolitan 
Opera House, New York City, when Tetrazzini 
sings "Lucia." On those same evenings Maude Bar- 
rymore always gets a night off from the manage- 
ment and occupies Mr. Morgan's box. 



So you see, Maude Barrymore is getting down to 
the particular importance of the Imp films in the 
great moving picture world. Like other sensible 
people she grasps the enormous dramatic value of 
the Imp pictures and their priceless characteristic of 
being perfectly clean, perfectly moral in their teach- 
ings and perfectly harmless in their effects upon the 
minds of the voung, old and middle aged. 



What Maude said to me in Central Park the other 
day has been said in my hearing by lots of other 
people these last few weeks. And believe me, it is 
some asset for a brand of film to have, viz. : the 
reputation of being finely dramatic and clean. Not 
every brand of film on this, or any other market, 
has either or both of these assets. I had to cut 
Maude's above-referred-to conversation rather short, 
but the dear girl hinted that she had other things 
to say to me about picture matters. No doubt she 
will unburden herself when we meet at the opera. 
If what the fair lady says is of interest to Imp 
fans I will set it down right on this page. Enough 
said just now. 





Scenes from "THE LIE" 




1 



THE BROKEN LEASE 

Depicts a remarkably ingenious way of compelling your landlord to release you from your 

apartment if you don't want to live in it. 



Copyright 1912 by Imp Films Company 




MR. and Mrs. William Gleason, a young married couple are residing in an apartment in which no dogs or children are 
allowed, and for which they signed a lease covering a period of three years. Before the time expires Gleason is 
ordered by the firm, with which he has been connected for many years, to proceed to Australia to manage a branch 
office there. Of course, the next move is a visit to the agent to ask to be allowed to break his lease. This the agent 
emphatically refuses to let Gleason do, and threatens, if he moves to make him pay the full amount of rent for the three 
years. Gleason returns home very much discouraged and sits down to think the matter over. What can he do 
to get himself peremptorily ordered to leave the apartment ? A brilliant idea occurs to him and he hurriedly proceeds to 
carry it out. Walking through the streets he sees a number of children at play, and immediately invites them to his 
apartment for a real good time. This they have with a vengeance; dancing, singing and racing about to their hearts' 
content. To this din is added the barking of dogs which are also brought along, a few being tied to the stair railing, to 
the terror of the other tenants, who in a body proceed to call at the Gleason apartment to ascertain the trouble. In the 
meantime Mrs. Gleason has gone home to her mother to relate their predicament, and she returns at the height of the frolic. 
For a moment she believes her husband has become demented, but being told the scheme she is overcome with laughter. 
The tenants who are incensed, bring the agent on the scene and he, to the Gleasons' great delight, orders them to vacate 
the apartment. 2-24-12 

On the Same Reel : ICE-BOATING ON THE SHREWSBURY RIVER 

IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



*fHBEg imps 
EVERY WEE1C, 



THE "IMPLET" 



THEY LIKE THE "IMPLET" AND THE "IMPS" 



LIKES THE IMPLET AND THE IMPS. 
To the Editor. 

Sir: Am only too willing to add my mite to- 
ward boosting "The Imps." 

As regards the Imp films, let me say that we 
consider them second to none. 

The comedies are without equal. Km- good, 
all-round fun, with plenty of spice, holding the 
interest of the spectator from start to finish, the 
Imp has them all heat in our estimation. 
Nor would we forget the drama. 
The plays arc so finely staged and the players 
so natural, that one has to remind oik's self that 
they are watching a picture and not a real life 
story. 

May 1 make a suggestion in regard to the 
films? 

We notice that a certain film company is show- 
ing the cast of characters at the beginning of the 
reel. Still another company shows photos of the 
principal players. Both have created great inter- 
est. I should like to see the Imp adopt such a 
plan. 1 should think it would be a fine plan to 
show the photo with the player's name and the 
part he or she is taking. Our experience has 
been that the better acquainted the patrons be- 
come with the players, the more popular the film 
becomes. So often we are asked about them, and 
are not always able to give a satisfactory answer. 
We knew some of them fairly well, but not all, 
and should like ourselves to know them all. 

The "Imps" are always welcome on our Mirror 
Screen. We could ask nothing better. Here's 
wishing them all kinds of success. 
Very sincerely yours, 

A. ARMSTRONG. 
Star Theatre, 

Newton, Iowa. 
P. S. — Kindly let me know what you will ask 
me for 250 or 300 copies of "The Implet." We 
thought we might give them out as souvenirs on 
a Wednesday when we have a special, and it 
might create a greater interest in the players and 
the films. We have not fully decided whether we 
will give them just the once or several times. 



Novelty Theatre, 

Beach, N. Dak. 



Respectfully, 

G. B. BOWER, 



LIKES THE IMPS. 

To the Editor. 

Sir: I am taking advantage of your kind re- 
quest in your first issue of "The Implet" and 
sending you under separate cover photo of my 
theatre, also a few sheets of my advertising mat- 
ter, showing how I advertise the Imp films. If I 
do say it, I have made the Imp what it is in our 
city. I was the first to show Imps in our city, 
and hope to continue as long as I am in the 
business. Am showing two (2) reels of Imps 
to-day. Yours, 

C. E. HERBOLD, 

Herbold's Acme Theatre, 
New Castle, Pa. 



KING BAGGOT AND "THE IMPS." 
To the Editor. 

Sir: Gossip is rife throughout this section 
that King Baggot will resign from the Imp forces 
soon and become identified with the Lubin people. 
This not only hurts the Imp drawing powers, 
but boosts opposition. Now we don't know 
whether this report is true or not, but we do 
know that opposition is using it strongly as a 
lever in furthering their interests. 
Very truly yours, 

H. T. HERMANN. 
Orphium Theater, 

Chillicothe, O. 
["The Lie" is the name of a picture in which 
King Baggot appears that is described on page 5 
and is released on Feb. 22nd. It is also a lie that 
Baggot is about to leave the Imp Company. See 
elsewhere in this number. — Ed.] 



ANSWERS TO CORRESPONDENTS. 

AN INQUIRER (Louisville, Ky.)— "Brickbats 
and Bouquets" will be issued very shortly. 

ROMA. — No: Cines is not pronounced Sin-ee c 
with the accent on the first syllable; the correct 
pronunciation is "Chee-nies." 

OLIVE WEST (Philadelphia).— King Baggot 
was the husband ; Miss Ethel Grandon was the 
wife. 

HAZEL HARPER (Peshtigo, Wis.)— The part 
was played by Owen Moore. We do not give 
actors' addresses. 



LIKES THE IMPLET AND THE IMPS. 

To the Editor. 

Sir: I think the Imps were and still are the 
cornerstone of the Independents. 

I can remember the time, when I was operat- 
ing, that I was ashamed to say I was working in 
an independent house, until the Imps began to 
produce the stuff, and then is when I began to 
place confidence in the Independents. 

1 have a picture frame of Imp releases in my 
lobby at all times and the people seem disap- 
pointed when I can not change them often 
enough. 

I received the first Implet a week ago, and 
must say I was pleased and surprised at it and 
hope it will continue and also grow. 

Hoping you will have still more luck and suc- 
cess with your productions and the Implet, I 
remain, Very truly yours, 

CHARLES BIRKENHEND, 

Mgr. Royal Amusement Co., La Salle, 111. 

LIKES "THE IMPLET" AND "THE IMPS." 

To the Editor. 

Sir: Just a few words in praise of your valu- 
able issue. It is just another progressive step in 
the right direction, namely, for the Independent 
Exhibitor, and the popular "IMPS." 
_ My cry to the Exchange has been, and will con- 
tinue to be, "Give me all the Imps possible, as 
all I have to do is to display the Imp Litho, and 
it will do the rest — draw the crowds. 

Expect to send you a photo of my theatre in 
the near future, and would like to have you place 
same in "Implet." 

Thanking you for your valuable interest in our 
(the exhibitors') behalf, and with best wishes for 
the "Imp" always, Yours truly, 

ED. C. CURDTS, Mgr. 

Bijou Theatre. Greenville, S. C. 



LIKES THE IMPLET. 

To the Editor. 

Sir: I wish to compliment you on the "Implet." 
« Ine of the things that strikes me so favorably is 
that you are giving the Casts of players. 

I always run a slide before each reel, stating 
what the next is going to be, and when 1 know 
the cast I put it on also. This is causing my 
patrons to take greater interest in the pictures in 
a general way. 

I am particularly interested in educational 
films, and am pleased to see you are getting more 
of them out. J will lecture the DAM-film when 
I get it. 

The more information you give us about these 
films the more good we can accomplish. 

I am running four reels per day (10 cents) and 
try to get one educational and one high-class 
comedy, and the market is shy on these. 

Imp-Comedies are my best drawing card. They 
always please everybody. 

I don't think there will be any question about 
getting the 3-Imps. 

Don't fail to send me Brickbats and Bo-"K"-s. 

Keep the quality up and give us plenty of those 
good, wholesome comedies and educational pic- 
tures. Yours truly, 

A. J. WELLMAN, 

The Lyric. Catlettsburg, Ky. 

LIKES "THE IMPS." 
To the Editor. 

Sir: Under separate cover I am mailing you 
picture of my theatre and employees. 

Have run all "Imps" released, and they are a 
hit here— especially "From the Bottom of the 
Sea." Respectfully, 

F. M. BOND. 
Prop, and Mgr. Bond Theatre, 
Pontiac, 111. 



LIKES THE IMPLET. 

To the Editor. 

Sir: Just received sample of "The Implet." 

\\ ish it all the success it deserves. 



CALENDAR OF 

Monday, January 1 — His New Wife, 

Thursday, January A — The Trinity, 

Saturday, January 6— Playing the Game— B ack to His Old Home Town, 

Monday, January 8— The Winning Miss, 



IMP RELEASE DATES 



Comedy 
Drama 



i nQrSuay", j ciiiuciry xi— — ±u uit'nui tutl ii > > uu'uo, 



Comedy 

Comedy 

Drama 



Saturday, January 13 — Cotton Industry (Industrial), How She Married, 



Comedy 



Monday, January 15 — The Deserted Shaft, 



Drama 



Thursday, January 18 — After Many Years, 



Drama 



Saturday, January 20 — The Flag of Distress — I wish I Had a Girl, 



Comedy 



Monday, January 22- — Building the Greatest Dam in the World, 



Industrial 



Thursday, January 25 — The Worth of a Man, 



Drama 



Saturday, January 27 — A Day on a Buffalo Ranch (Scenic), All a Mistake. 



Comedy 



Monday, January 29 — The Kid and the Sleuth, 



Comedy 



Thursday, February 1- — The Power of Conscience, 



Drama 



Saturday, February 3 — O'Brien's Busy Day — Brown Moves in Town. 



Comedy 



Monday, February 5 — The Helping Hand, 



Drama 



Thursday, February 8 — Mrs. Matthews, Dressmaker, 



Drama 



Saturday, February 10 — Who Wears Them (Comedv), Tea Industry, 



Industrial 



Monday, February 12 — Reflections from the Firelight, 
Thursday, February 15 — Through the Flames 



Drama 



Drama 



Saturday. February 17 — Tables Turned 



Comedy 



Monday, February 19 — A Modern Highwayman 



Drama 



Thursday, February 22 — The Lie 



Drama 



Saturday, February 24 — The Broken Lease 



Comedy 



Monday, February 26 — The Emigrant's Violin 



Drama 



Thursday, February 29 — The Rose of California 



Drama 



Saturday, March 2 — The Rieht Clue — Beat at Hi« Own Game 



Corned}^ 




Scenes from "THE LIE" 







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"INDEPENDENT QUALITY" 

No. 3. 

IWO former articles under this caption were strictly personal, though strictly 
editorial. The opinion that we expressed, that the independent picture was in 
the general sense qualitatively equal to the licensed picture was based upon 
individual study. The value of that opinion resides in the fact it proceeds from 

a mind which has devoted more attention to moving picture making than the majority of 

other minds engaged in the business. 

But since the last issue of The Implet was published, we have gone a step farther in our 
determination to uphold the cause of independent quality, by largely reinforcing our own 
opinion. The Implet has had an intelligent man interviewing exhibitors in New York 
City, Brooklyn, So. Brooklyn, the Bronx, Mt. Vernon, Morris Park, Westchester; all in 
New York State, and he has gone also to Paterson, Newark, Jersey City, Hoboken, 
West Hoboken, Union Hill, Passaic and Frankford; all in New Jersey. 

In all he visited many hundred exhibitors, licensed and independent. This is what he 
found: 

The overwhelming sentiment of the large majority of New York State and 
New Jersey exhibitors is Independent. 

The consensus of opinion is that the quality of independent pictures has vastly improved, 
and that in many instances, it is the equal in quality of the best "licensed" pictures. 

Independence is strong; and is growing in strength in the East. 

In other words the Independent Side of the moving picture here in the East is the 
predominant side. 

The maintenance of quality in the independent moving picture is not exclusively a 
manufacturer's problem; it is largely an exhibitor's problem. The more the exhibitor 
supports the independent manufacturers the more money those manufacturers can afford 
to put into their pictures. That stands to reason. 

Therefore, in urging exhibitors all over the country to declare for independence we are 
fighting the battle of the uplift of all independent quality. There is nothing in this world 
that cannot be improved upon. Not to progress is to retrogress, or go backwards. 
Good as the independent quality is today, it must continually improve and it will improve 
all the more as the growth of the independent movement progresses. 

As we stated last week quality must be the slogan of the Independent Side. 

EDITOR. 




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THE "IMPLET" 



Cfje "Ampler 

THE MOVING PICTURE NEWSPAPER 

Edited by THOMAS BEDDING 

Published at 102 West 101»t Street, New York 

SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY, 5 CENTS 



"THE IMPLET MARCH." 
.Mr. Edward Ferrucci, of No. 78 St. John St., 
New Haven, Conn., a well-known composer, 
writes to us: "I am now composing a march 
and dedicating it to The lmplet, entitled "March 
of the Imp.-," which, as soon as 1 am through 
with, will send you. Hope it will please you and 
the actors." 



THE IMP FILM COMPANY'S CALIFORNIA 
PLANT. 

[By Our Special Correspondent.] 
1 think a short outline of what we have here, 
and what we are doing, will not be amiss. First 
as to the West Coast Plant: We have two acres 
of ground on Brooklyn Heights. We are on the 
extreme edge of the bluff, and can look down 
upon the city on one side and across the valley 
toward Pasadena on the other. This two acres 
is surrounded on three sides by a seven-foot 
fence. (We are very exclusive.) Inside the 
fence is our studio and factory. We have a large 
open stage. Next to this is a barn, which we 
use for a storehouse. Then comes the beautiful 
seven-room bungalow, where the studio, office, 
projecting room, dressing rooms, wardrobe 
rooms, etc., are located. Then the factory build- 
ing, where the developing, printing and cutting 
is done — also the assembling. You will observe 
that we have a complete plant. The open spaces 
are carpeted with a velvety growth of grass, dot- 
ted here and there with palm and eucalyptus 
trees. Can you picture us lying on the grass 
whilst waiting for a set, and then turn to your- 
selves freezing in your Eastern blizzard? 

As for work, we are getting plenty of it. We 
have been handicapped by having a concern out 
here develop our output in such a manner, that 
of necessity we had to take it all over. But now 
that our own plant is complete we won't be 
bothered that way. We are traveling to our 
locations here before your Eastern actors are 
out of bed. Manager Nathanson is on the jump 
all the time. Director Grandon and our artistic 
camera man, Gaetano Gaudio, have worked every 
night since we landed here until 11 and 12 o'clock, 
cutting and assembling. Everybody is helping 
everybody else, and all is perfect harmony. With 
all the hard work, we are a happy family. 



CASTS OF THE IMP PLAYS. 



"THE IMMIGRANT'S VIOLIN." 

(Imp Drama. Release, Monday, Feb. 26.) 
Written by Clay Mantley. 
Produced by Otis Turner. 

ROSA Vivian Prescott 

MRS. BRADLEY Lena Loraine 

ALBERT BRADLEY King Baggot 



"THE ROSE OF CALIFORNIA." 

(Imp Drama. Release, Thursday, Feb. 29.) 
Written and Produced by F. J. Grandon. 

GEORGE MAC CURDY Harry Pollard 

DON ENRIQUE CARRILLO Ben Horning 

DONA ROSA CARRILLO. ..Margarita Fischer 
SENORA ROSA CARRILLO .... Louise Crolius 
PADRE DE LA PENA E. J. Le Saint 



"THE RIGHT CLUE." 
The $100 Prize Scenario. 

(Imp Comedy. Release, Saturday, March 2.) 
Written by Louise Carter. 
Produced by Otis Turner. 

MR. FORBES William Shay 

MRS. FORBES Violet Horner 

THE DETECTIVE W. R. Daly 



"BEAT AT HIS OWN GAME." 

(Imp Comedy. Release, Saturday, March 2.) 

Written by George Larkin. 

Produced by Henry Pathe. 

HENRY SPENCER W. R. Cumpson 

PEARL BROWN Grace Lewis 

JAS. NASH (disguised as a woman) . . E. L. Leigh 



In future the casts of the Imp dramas and 
comedies will be printed on the film immediately 
following the main title. 



IMPORTANT VICTORY OF THE MOVING 
PICTURE INDEPENDENTS. 
Judge Hand, of the United States District 
Court for the Southern District of New York, 
has just decided in favor of the Independent 
Moving Picture Manufacturers an important 
patent suit brought by the Motion Picture 
Patents Company, known as the Trust, against 
the Independent Moving Pictures Company 
of America, one of the independent manu- 
facturers. The suit was begun in Febru- 
ary, 1910, and was for alleged infringement of 
Latham patent No. 707934, granted August 26, 
1902, to Woodville Latham, for "Projecting l\i- 
netoscope." It had been claimed by the Motion 
Picture Patents Company that the Latham pat- 
ent covered and controlled not onl3 r all the pro- 
jectors employed by the independent exhibitors 
throughout the country, but also all the cameras 
employed by the independent film manufacturers. 
This claim has been denied by the Independents, 
and the case just decided was made a test case 
by both sides. Upwards of two thousand pages 
of testimony and exhibits were presented to the 
court, the testimony beginning in May, 1910, and 
concluding in August, 1911. The case was ar- 
gued November 22 and 23, 1911, and has just 
been decided by Judge Hand, who dismisses the 
Bill of Complaint on the ground of non-infringe- 
ment, with costs. 



LOUISE CARTER 

Winner of the Imp $100 Scenario Prize 



BUYING EXCHANGES FOR THE IMP 

FILMS— WHERE YOU ARE TO 

DEMAND THEM. 

Mr. Exhibitor, 

Sir: In the language of the Immortal Bard, 
"many a time and oft" have we advised you to 
demand Three Imps a Week. Demand 'em of 
your Exchange, we have said. 

Most humbly do we apologize for having omit- 
ted a list of whom you are to do your demanding. 
Here it is — the Sales Company's buying list of 
American and Canadian Exchanges: 

CANADA. 
Applegate, L. J., & Sons, 145 Yonge St., Toronto, Ont. 
Canadian Film Exchange, Calgary, Alberta. 
Canadian Film Exchange, Toronto, Ont. 
Gaumont Co., 154 St. Catharine St., Montreal, Quebec. 
Gaumont Film Co., Winnipeg, Man. 
Great Western Film Co., 613 Ashdown Block, 

Winnipeg, Man. 
Canadian Amuse. Co., care Western Film Ex- 
change. Savoy Theatre Bldg., Vancouver, B. C. 
CALIFORNIA. 
California Film Exchange, 1065 Mission St., San 

Francisco. 
Miles Bros., 1145 Mission St., San Francisco. 
Miles Bros., 411 West 8th St., Los Angeles. 
California Film Exchange, 514 S. Los Angeles St., 
Los Angeles. 

COLORADO. 
Co-Operative Ind. Film Co., Barclay Blk., Denver. 
W. H. Swanson Film Exchange, 301 Railroad 
Bldg., Denver. 

DISTRICT OF COLUMBIA. 
Washington Film Exchange, 428 Ninth St.. N. W. 

GEORGIA. 
Consolidated Film & Supply Co., Rhodes Bldg., Atlanta. 

ILLINOIS. 
Anti-Trust Film Co., 128 W. Lake St., Chicago. 
Globe Film Service, 208 Fifth Ave., Chicago. 
H. & H. Film Exchange, 98 Jackson Bldg., Chi- 
cago. 
Laemmle Film Service, 196 Lake St., Chicago. 
Standard Film Exchange, 168 W. Washington St., 
Chicago. 

INDIANA. 
Central Film Service. 119 North Illinois St., In- 
dianapolis. 

IOWA. 
Laemmle Film Service, Suites 2 and 3, 515 Mul- 
berry St., Des Moines. 

KANSAS. 
Wichita Film & Supply Co., 122 N. Market St., 
Wichita. 

LOUISIANA. 
Consolidated Film & Supply Co., 720 Maison 
Blanche Bldg., New Orleans. 

MASSACHUSETTS. 
Boston Film Rental Co., 665 Washington St., 

Boston. 
W. E. Green Film Exchange, 228 Tremont St., 
Boston. 

MARYLAND. 
Baltimore Film Exchange, 610 E. Baltimore St., 
Baltimore. 

MINNESOTA. 
Laemmle Film Service, 256 Hennepin St., Minne- 
apolis. 

MICHIGAN. 
Michigan Film & Supplv Co., 1106 Union Trust 

Bldg., Detroit. 
Cadillac Film Exchange, 92 Griswold St., Detroit. 

MISSOURI. 
J. W. Morgan, 1310 Walnut St., Kansas City. 
Swanson-Crawford Film Co., Century Bldg., St. 

Louis. 
St. Louis Film & Supply Co., 804^ Pine St.. St. 

Louis. 
Western Film Exchange, 15 W. 10th St., Kansas City. 




Miss Louise Carter, the winner of the $100 prize 
offered by the Imp Films Company for the best 
comedy scenario in the recent competition, is a 
clever and attractive Denver girl, who has acted 
as newspaper editress, short-story writer and 
moving-picture actress during her short life. She 
has been a resident of New York for some time, 
and has successfully appeared in many moving 
pictures. 

She thus brings to her work of scenario writing 
a practical knowledge of the requirements of the 
moving picture stage. More than one of Miss 
Carter's scenarios had already been accepted by 
the Imp Films Company's scenario editors. 

Miss Carter's mind is an eminently logical one, 
and her aim is to produce scenarios which not 
only appeal to the practical director but also con- 
vince the public by their plausibility and dramatic 
qualities. 

NEBRASKA. 

Laemmle Film Service, 1312 Farnam St., Omaha. 

Progressive Film Exchange, Elite Theatre Bldg., Omaha. 
NEW YORK. 

Empire Film Exchange, 150 E. Fourteenth St. 

Great Eastern Film Exchange, 21 E. 14th St. 

Peerless Film Exchange, 5 E. 14th St. 

Metropolitan Film Exchange, 122 University PI. 

Western Film Exchange, 145 W. 45th St. 

Rex Film Exchange, 84 N. Pearl St., Albany. 

Victor Film Service, 39 Church St., Buffalo. 
OKLAHOMA. 

United Motion Picture Co., 112 Main St., Okla- 
homa City. 

OREGON. 

Independent W. F. Exchange, 84 Seventh St., Portland. 
OHIO. 

Buckeye Lake Shore Film Co., 422 N. High St., 
Columbus. 

Cincinnati-Buckeye Film Co., N. E. Cor. 4th and 
Plum, Cincinnati. 

Central, 109 W. 5th St., Cincinnati. 

Lake Shore Film & Supply Co.. 106 Prospect 
Ave., S., Cleveland. 

Victor Film Service, Prospect and Huron Sts., 
Cleveland. 

Toledo Film Service, 120 Erie St., Toledo. 
PENNSYLVANIA. 

Eagle Film Exchange, 23 N. 9th St., Philadelphia. 

Exhibitors' Film Service Co., 49 S. Penn Ave., 
Wilkes-Barre. 

Philadelphia Film Exchange, 121 W. 9th St., 
Philadelphia. 

Philadelphia Projection Co., 44 N. 9th St., Phila- 
delphia. 

Swaab Film Service Co., 129 N. 8th St , Philadelphia. 

Independent Film Exchange, 415 Ferry St., Pittsburg. 

Pittsburg Photoplay Co., 412 Ferry St., Pittsburg. 
TENNESSEE. 

Cons. Film & Supply, 95 S. Main St., Memphis. 
"TEXAS. 

Texas Film Exchange, 1315^ Elm St., Dallas. 
WASHINGTON. 

Western Film Exchange, 807 Third Ave., Seattle. 

Pacific Film Exchange. Globe Bldg., Seattle. 

California Film Supply Co., 807 3rd Ave., Seattle. 
WISCONSIN. 

Western Film Exchange, 307 Enterprise Bldg., 
Milwaukee. 




THE IMMIGRANT'S VIOLIN 




Copyright 1912 by Imp Filmt Company 




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The romantic adventures of a young Italian girl lost in 

New York and restored to her parents and happiness 

through her wonderful skill as a violinist. 



2-26-12 



IMP FILMS COMPANY 



102 West 101*t Street, New York 



Carl Laemmle, Pres. 



ZJiBM imps 
'EVERY WEEK* 



THE "IMPLET' 




Imp Players 



GRACE LEWIS 



Grace Lewis, ingenue of the Imp Films Com- 
pany, is a worldwide favorite of Imp fans be- 
cause she i> a hard and conscientious worker. 
She is petite, graceful and expressive. In "On the 
Stroke of Three," the very Tine Imp drama, which 
was so good that it was imitated by a competitor, 
• iraoe acted very finely as (he old farmer's (laugh- 
ter. In "All a Mistake" she was again vigorous, 
convincing and clever. 

Grace has one characteristic which is exceeding- 
ly commendable, she is ideally unconscious of 
the camera; she is so absorbed in her work -he 
elevates naturalness of acting into a fine art. She 
is simple and unaffected. 

Whenever the Imp picture in which Grace 
Lewis appears is shown, be sure that this fine 
little actress will make an unostentatious success 
of her part. She is in and of the picture, and. 
artist-like, does not obtrude herself. 

And there you have Grace in real life — simple, 
natural, unobtrusive — a highly popular member of 
the Imp forces because of this exquisite indi- 
viduality. What Imp fans think of Grace Lewis 
is evidenced by a letter of appreciation which 
appears elsewhere in this issue of "The Implet." 

T. B. 



IMP NIGHT 

AT THE HUNGRY CLUB 

The Hungry Club? What is the 

Hungry Club? 



The Hungry Club, reader, is best described in 
the verse which is printed under its official mono- 
gram: 

A club which dines and entertains 

Its chosen friends each week-end night, 

While at its board this motto reigns: 
Good nature, wit and appetite. 

Founded in 1896 by Miss Mattie Sheridan, one 
of the most celebrated of New York's leaders in 
the literary, artistic and theatrical life of the 
great city, The Hungry Club, which meets each 
Saturday throughout the year, attracts the most 
distinguished people from all over the world. 
Actors, authors, painters, travelers, great opera 
stars, violinists and statesmen — the best and 
brightest of the time. 

For the first time in its history, The Hungry 
Club is to carry its honors into the moving pic- 
ture field. At the two hundred and eighty-ninth 
dinner of the club on Saturday. February 24th, the 
editor of "The Implet" is to give a talk about the 
moving picture. 

Mr. Carl Laemmle, the president of the Imp 
Films Company, and Mrs. Laemmle, will be 
guests of honor on that occasion, and a choice 
selection of Imp films will be shown after the 
dinner. 

This signal compliment to Imp films has at- 
tracted attention throughout artistic and literary 
New York, and constitutes a landmark in the his- 
tory of the moving picture. 

Those readers of "The Implet" who would like 
to be present at the Imp Night of The Hungry 
Club on February 24th, should address the presi- 
dent, Miss Mattie Sheridan, No. 100 West 88th 
street, New York City. The tickets are $1.25, and 
covers will only be laid for those who notify 
Miss Sheridan of their intention to be present by 
Friday, February 23rd. 




Scene from "THE ROSE OF CALIFORNIA" the Imp First California!! Release. 



THE ROSE OF CALIFORNIA 



Copyright 1912 by Imp Films Company 



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A romantic love story of California in the "early forties." 
A gallant young American woos and wins the beau- 
tiful daughter of a proud Spanish ranchero. 



2-29-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



121BM imps 
'EVERY WEEK* 



THE "IMPLET" 



"THE IMMIGRANTS VIOLIN." 
(Imp Drama. Released February 26.) 

In this drama we have, very well staged, the 
strong Italian atmosphere which pervades many 
sections of New York City. Anybody who will 
take the trouble to stand an hour or two in the 
vicinity of the Battery, shortly after the Ellis 
1 -land' immigrant authorities have dumped Uncle 
Sam's guests on American soil, will recognize 
the characters of Rosa, the violinist, and her 
parents as they are depicted in this picture. 

The Italian immigrant is signed all over. He 
and she always make a particularly aimless ap- 
nce on Manhattan. It was not to be won 
dered at. therefore, that little Rosa got separated 
from her parents. Then the picturesque drama 
starts. She plays the violin and is rescued from 
oblivion by a kindly lady whose son falls in 
love with her. She ultimately discovers her par- 
ent-, and for a moment is repelled by them, but 
better instincts prevail, and finally she is married 
to her young American lover. The story is bold- 
ly but clearly drawn, and is true to life, and 
should certainly be very popular with persons of 
Italian origin who visit the moving picture the- 
atre. The Italian violinist ,-crves the purpose of 
introducing Vivian Prescott, the Imp Films Com- 
pany's newest leading lady, in a dramatic role to 
a worldwide circle of Imp fans. Miss Prescott 
looks and acts the part well. It is a picturesque 
play, and to say that it is produced by Mr. Otis 
Turner is sufficient to stamp it with the hall mark 
of experience. 



"THE ROSE OF CALIFORNIA." 

(Imp Drama. Released February 29.) 

In this, Mr. Grandon's first Californian picture, 
we see a practiced hand in every inch of the him. 
The technique of Mr. Grandon's work is always 
good. You never see him falling down in _ this 
respect. In this story he has achieved two things, 
viz.: suggested the sentiment of the subject and 
the atmosphere of the subject. 

A young American, who in the early forties 
finds himself in an old Mission Ranch, cannot 
very well help himself when he falls in love with 
the lovely daughter of the old Spanish Don. 
This was inevitable, as you can see for yourself 
the moment the picture starts. The intervention 
of her parents does not restrain the impetuous 
Spanish beauty; she has made up her mind. The 
performance of the marriage ceremony ends just 
prior to the old Don's attempt to save his daugh- 
ter from the American's clutches, but it is too 
late. Cupid wins the day. The handsome young 
couple escape and make a picturesque retreat from 
the irate father-in-law. 

The story is firmly worked out. Its power lies 
in its simplicity and consistency. 

Margarita Fischer and Harry Pollard, as the 
lovers, are fine. E. J. Le Saint, as the padre, 
acts with great dignity. Miss Fischer's parents 
are duly dignified. 



"THE RIGHT CLUE.'' 

(Imp Comedy. Released March 2.) 

The $100 Prize Scenario. 

Novelists, dramatists and scenario writers are 
fond of "clue" themes. The illustrious Sherlock 
Holmes, it will be remembered, makes many 
wonderful discoveries on what seems to be very 
slender evidence. It is a trick of the stage de- 
tective and the detective of the novel to evolve 
something out of nothing, but the audience and 
the reader like this sort of pabulum. They like 
to see the mystery solved by just this sort oi 
slender material or evidence. Miss Carter very 
adroitly avails herself of this fact. The central 
idea of her story is an exceedingly clever one. 
Some papers mysteriously disappear; the clue, the 
right clue, to the mystery is some cigar ash. 

Detective W. R. Daly seizes this clue and he 
follows it up patiently, persistently and pertina- 
ciously, until he finally locates the missing docu- 
ments in the hat of a policeman. Just imagine 
that! Some papers disappear, some cigar ash is 
found, and by means of this cigar ash the papers 
are traced and recovered. 

This very clever piece of comedy work is bound 
to make your patrons laugh, Mr. Exhibitor-Man. 
Take it from us, that W. R. Daly, in the part of 
the humorous detective of this film, out-Dalys 
Daly; he is funny in every fibre. 

Miss Carter hit upon an ingenious theme in 
this story. It is cleverly and ingeniously worked 
out by the Imp comedians, and will add to the 
fame of the Imp Films Company's Saturday re- 
leases. 



u 



For Thee, My Love, For Thee" 



Mr. Exhibitor Man (likewise Airs, and Miss 
Exhibitress), every blessed line of every blessed 
one of the Notices printed below is for you, 
"For Thee, My Love, for Thee," so — verbum sat 
sapientiae, which is some kinder Latin for: 
Sit up and take notice of these notices, for your 
own health and pockets' sake. Read 'em one by 
one: 



No. 1 — Photos of the Imp Players. 

The Imp Films Company, No. 102 West 101st 
Street, New York City, are issuing a set of photo- 
engravings of the Imp Players — King Baggot, 
William Shay. W. R. Daly, E. J. Le Saint, Ed. 
Lyons, J. R. Cumpson, H. S. Mack, Margarita 
Fischer and Grace Lewis. The set of ten photo- 
engravings will be mailed to any address for 50 
cents. Every exhibitor should provide himself 
with a number of these sets. He could distribute 
them amongst his audiences as souvenirs. 



No. 2 — Posters for the Imp Split. 

We want the exhibitor to let us know whether 
we shall, in future, issue two posters for our reg- 
ular Saturday split Imp or not. As he is aware, 
one poster would be sufficient if the two sub- 
jects on the reel were never separated. But that 
would defeat the purpose of the split reel. Now, 
then, what do you want in this matter? Do you 
want a poster for each separate subject on a 
split, and shall we make them accordingly? Let 
us know; and, besides letting us know, let your 
Exchange know. It is entirely up to you, Mr. 
Exhibitor. 

No. 3 — "The Implet " Wants a Picture of You 
and Your Theatre. 

Dear Friend Exhibitor: We want your photo- 
graph, and we want a photograph of your the- 
atre. Send us either or both, and we will find a 
corner for it or them in "The Implet." 

No. 4 — We Invite Criticisms of "The Imp'' 
Pictures. 

Whenever you see anything in an Imp picture 
calling for criticism or comment, sit down at 
once and write us what is on your mind. We 
invite your opinions on our pictures and will 
publish them. Let us know what you think. 
Say it with as few words as possible. What we 



would like to do every week is to devote a col- 
umn of "The Implet" to publishing the opinions 
of Imp exhibitors on Imp pictures. There's a 
double reason for this. Your criticisms will help 
us to help you. That is the principal object of 
"The Implet." 



No. 5 — "Millionaire for a Day." 

The man who came from Wilkes-Barre to New 
York recently and lived the life of a millionaire 
for a day gave the newspapers plenty to write 
about, lie slept and dined at the Waldorf-As- 
toria, did things in great style, painted little old 
New York a bright red twice round the clock 
and then went home. The Imp Films Company- 
will shortly release a picture on this subject, 
"A Millionaire for a Day." If the picture does 
not exactly tell your audience how it feels to be 
a millionaire for a day, it, at any rate, will show 
them how it looks. "A Millionaire for a Day" 
will be the most strikingly original piece of com- 
edy work put out by the Imp Films Company. 



No. 6 — "Brickbats and Bouquets." 

This is the title of a book which we are mail- 
ing free to any one who will take the trouble to 
write for it to The Imp Films Company, No. 102 
West 101st Street, New York City. It is a book 
of about 60 pages, and the contributors to it are 
Independent exhibitors all over the United States 
and Canada. This is how we made the book: 
In October we sent out a circular to exhibitors, 
asking them if they were, or were not, in favor 
of Three Imps a Week. We also asked them to 
state their reasons one way or another. 

The replies astonished and pleased us. They 
came in by the hundred. There is an overwhelm- 
ing desire for Three Imps a Week; and the rea- 
sons why are given. The majority want com- 
edy; some want industrials, some want dramas, 
and others want educational. But ALL — or 
NEARLY ALL— want Three-a-Week. And since 
December they have had them. But the book is 
of general, as well as of particular, value. We 
have printed the "Brickbats" as well as the "Bou- 
quets." We have been fair, in the interests of 
The Imp Company; we are fair in the interests 
of the general film business. Mr. Exhibitor and 
Mr. Exchange Man, let us send you a copy of 
"Brickbats and Bouquets." It is indispensable to 
you. 



WHERE IMP FILMS ARE SHOWN 




BOND THEATRE, Pontiac, Illinois 




THE RIGHT CLUE 




Copyright 1912 by Imp Films Company 




A most ingenious detective story. The scenario for this pic- 
ture won the $100 prize in the Imp Films Company's 

world wide competition. 



On the same reel is "BEAT AT HIS OWN GAME" 
a screaming story of jealousy and its consequences. 

IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



3-2-12 



fHREE IMPS 
'EVERY WEEIC 



THE "IMPLET" 



THEY LIKE THE "IMPLET" AND THE "IMPS" 



LIKES THE IMPLET. 
To the Editor. 

Sir: I do not miss my breakfast, and have no 
to do so. I am equally as anxious not to 
miss "The Implet," and am therefore writing to 
ask if you will kindly send it to me, and at the" 
same time place my name on your "mailing 
list." 

1 am a great admirer of your productions, and 
take great pleasure in exhibiting any of your 
films. 

Miss Grace Lewi- is a personal friend of Mrs. 
Fisher and myself, and 1 shall greatly appreciate 
it if you will kindly convey our kindest regards 
and remembrances to her. 

Thanking you in anticipation, I am 
N ours truly, 

PERCY FISHER, 
Proprietor and Manager. 
"The Mirror." Florence, S. C, Jan. 31, 1912. 

LIKES THE IMPLET. 

To the Editor. 

Sir: Enclosed please find post card showing 
my picture theatre, the "Imp," together with my- 
self and family. Flave been running the "IMP" 
since last May. using Independent pictures, and 
doing fine. The only trouble is that we do not 
get enough IMPS, as they are considered by 
my patrons as the very best pictures shown. 

"The Implet" is quite a sheet and am glad to 
receive it. Yours truly, 

W . T. FRAYBACK, 

Manager. 
Imp Theatre. Syracuse, Kans., Feb. 2, 1912. 

LIKES THE IMPS. 
To the Editor. 

Sir: Being of the same opinion as Mr. Miller, 
of Fremont, O., that if the exhibitor has a kick 
coming on pictures he should make it to the 
maker of the film and not the exchange, which 
1 think will enable them to rectify some of the 
plots that are put in films, and the public is de- 
manding the best films, like the I. M. P.'s — that 
is it. the I. M. P.'s, Laemmle's IMPS, the greatest 
of all films; and I candidly think — and so do most 
other exhibitors — that Laemmle and the IMPS 
have done a lot for Independents to get where they 
are to-day — best of all makers. I only boost the 
IMP sixteen hours a day, and sleep eight with a 
wish of awakening and finding a program with 
an IMP on it, which my patrons are always loyal 
to and fill my house and go away pleased and 
tell their neighbors and friends. And they all 
come again. Let the good work continue. 
Very respectfully. 

HARRY E. SHAW, 
Another IMP Booster. 
Luna Theatre, Fostoria, Ohio, Feb. 2, 1912. 

LIKES THE IMPS AND "THE IMPLET." 
To the Editor. 

Congratulations right off the reel for "The 
Implet." There is no question in my mind but 
that you will make this "Implet" the greatest 
house organ in the country. 

Yours in haste, 

T. H. QUILL. 
Chicago, III, Feb. 2. 1912. 

LIKES THE IMPS AND "THE IMPLET.' 

To the Editor. 

Sir: Enclosed you will find two views of the 
theatre of which I am manager. I would like to 
have one or both of them run in "The Implet." 
The Imps are our leading pictures here. 
Yours for success, 

F. L. SMITH. 
Jewel Theatre, Winfield, Kans., Jan. 30, 1912. 

LIKES "THE IMPLET' AND THE IMPS. 

To the Editor. 

Sir: Just a few lines to express my apprecia- 
tion in behalf of "The Implet." This certainly is 
a great little organ, as you call it, and you ought 
to do well with same. 

I am passing them out to our exhibitors, and 
will endeavor to get you some yearly subscrip- 
tions. Very truly, 

F. A. VAN HUSAN, Jr. 

Omaha, Nebr.. Feb. 5, 1912. 




LIKES THE IMPLET 

To the Editor. 

Gentlemen: I am now receiving sour IMP- 
LET and must say it is great, ami a good deal 
better than your past Lobby Sheets. Enclosed 
you will find a circular, which ,un>~ you a mere 
idea of how I advertise my pictures, the picture 
which I am advertising this week is one of your 
product-. I have a Wednesday and a Friday 
of each week as my "Feature Picture Nights." 
And, believe me. I take great care in selecting my 
pictures for those two nights because when I say 
"Feature Picture" my patrons are all positively 
assured that they will see a picture out of the 
ordinary kind, in plain English, "a feature." 

\\ ishing you all the success in the world, I 
remain, thanking you in advance, 

Sincerely yours, 

JOS. E. GAHN. 

413 Sidell Ave.. Algiers, La., Feb. 5, 1912. 

This is how Mr. Gahn advertises the Imp mas- 
terpiece, "From the Bottom of the Sea": 
MARKET THEATRE 
Next to Foto Market 
Sidell Avenue, Algiers, La. 
COMING! COMING! 

Wednesday Night, February 7th 
Extra Feature Picture, 
"FROM THE BOTTOM OF THE SEA." 
2000 Feet of Film 2000 

A strong, educational, dramatic picture. The 
greatest I.M.P. Film ever made in America. 
Don't be satisfied reading this circular only, but 
come and see this great masterpiece. The sub- 
ject deals with the sinking of a submarine boat. 
A young officer volunteers to save the crew by 
letting himself be shot through the torpedo 
tube, while the boat was at the bottom of the sea. 
All this you see, and more, with a true love 
story, weaving in and out with a heart's intense 
interest. 

DON'T FAIL TO SEE 
The submarine boat rise and sink, and all the 
other details as though they were on the boat. 
Nothing like it ever attempted in Motion Pho- 
tography before. 

Don't Forget the Date 

POSITIVELY ONE NIGHT ONLY 



LIKES THE IMPLET. 

'Li tin Lditor. 

Sir: Received to-day a copy of "The Tmplet," 
No. 3, which is the first number 1 have received; 
and would appreciate having you forward Num- 
bers 1 and 2, as I do not wish to lose any up-to- 
date news or suggestions, such as "The Implet" 
contains. 1 am enclosing a picture which will 
show you how we advertise our special features. 
Our model of the submarine attracted much at- 
tention, and "From the Bottom of the Sea" was 
highly appreciated by our audience. I will always 
enjoy showing such productions. 
Respectfully, 

G. W. ERDMANN. 

Manager. 
Bijou Dream, 
Buffalo, N. Y. 

LIKES THE IMPS AND "THE IMPLET." 

To the Editor. 

Sir: I consider the picture, "From the Bottom of 
the Sea," one of the best and most instructive 
pictures ever shown here. The Imp pictures are 
always good, and am glad when we get them — 
in fact, all my patrons are delighted with Imp 
pictures. 

With best wishes for the "Imps" and "The 
Implet," I remain, 

Yours truly, 

J. H. GRADY. 
The Lyric Theatre, 
Sumter, S. C. 

LIKES THE IMPS. 

To the Editor. 

Sir: Who said the Imps were no good? They 
are all right. Our patrons are simply going wild 
about them. Don't know what we will do with 
the crowds, if Imps keep on growing any better. 
Without a doubt Imp pictures are rivals to any 
of the other make of pictures which we are 
running. The performers are simply magnificent, 
photography superb and the acting perfect, in 
every way. I am strongly in favor of Three Imps 
every week because our patrons want them and 
could use three more a week. 

Very truly yours, 

WM. J. HAHNEL. 
Home Theatre, 

2817 Clybourne St., 

Milwaukee, Wis., Feb. 1, 1912. 



CALENDAR OF IMP RELEASE DATES 



Thursday, February 1 — The Power of Conscience, 



Drama 



Saturday, February 3 — O'Brien's Busy Day — Brown Moves in Town, 



Comedy 



Monday, February 5 — The Helping Hand, 



Drama 



Thursday, February 8— Mrs. Matthews, Dressmaker, 



Drama 



Saturday, February 10 — Who Wears Them (Comedy), Tea Industry, 



Industrial 



Monday, February 12 — Reflections from the Firelight, 



Drama 



Thursday, February 15 — Through the Flames 



Drama 



Saturday, February 17 — Tables Turned 



Comedy 



Monday, February 19 — A Modern Highwayman 



Drama 



Thursday, February 22 — The Lie 



Drama 



Saturday, February 24 — The Broken Lease 



Comedy 



Monday, February 26 — The Immigrant's Violin 



Drama 



Thursday, February 29 — The Rose of California 



Drama 



Saturday, March 2 — The Right Clue — Beat at His Own Game 



Comedy 



WHERE IMP FILMS ARE SHOWN 




ACME THEATRE, Newcastle, Pa. 



JEWEL THEATRE 
Winfield, Kan. 




THE STORIES OF THE IMP FILMS 



GREAT NEW FEATURE OF THE IMPLET 







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A Moving Picture Story Every Week 



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URING the past few months the Imp Films Company has had requests from 

magazines and newspapers all over the country for pictures and synopses of Imp 

films, so that they could be turned into stories. We have felt obliged to decline 

those requests for several reasons. In the first place, stories so made, must necessarily 

have a somewhat artificial aspect because the authors of them are dealing with imperfect 

material. 

In the next place we had contemplated going "one better'' than any of these publications. 
We had decided to write our own stories for our own readers. Our circle of readers, 
by the way, is a world wide one. 

Who is more fitted to write a moving picture story than the author who lives, moves, 
and so to speak, has his being amongst the characters in the stories of the films? 
Nobody, of course. 

That's just what we are doing. We are living, as it were, amongst the very people who 
figure in the casts of our plays, week by week, in The Implet. We enter into their 
lives; we exist in the scenes, where they exist; we suffer with them; we rejoice with 
them, in fact, "their people are our people." 

So as we said before, who is more fitted to write the stories of which the ImpJ films) tare 
necessarily only brief glimpses, than one whose very life is part of those stories. 
So it comes to this. In next week's Implet, that is No. 8, we shall commence a weekly 
series of stories based upon our own pictures. These stories will be written by a prac- 
ticed hand and the practiced hand is the hand of the Editor of this paper, who the 
reader may like to know, is a practical novelist and story writer of several year's stand- 
ing. So look out, reader, for No. 8 of The Implet, and the first Imp story which is en- 
titled, "WHERE PATHS MEET," fully illustrated. 

IMPORTANT NOTICE 

The Imp Films Company's stories are strictly copyrighted and must not 
be reproduced without special permission or arrangement. EDITOR. 






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THE "IMPLET" 



Cfje "3]mplet" 

THE MOVING PICTURE NEWSPAPER 

Edited by THOMAS BEDDING 
Published at 102 West 101st Street, New York 



SUBSCRIPTION PRICE. $1.00 PER YEAR 
SINGLE COPY, 5 CENTS 



"FROM THE BOTTOM OF THE SEA" IN 
ENGLAND. 

A Powerful Poster. 

Those who believe in the power of a striking 
poster — and that includes all wise showmen — will 
admire Mr. J. F. Brockliss' line production in con- 
nection with that sensational "Imp" subject, 
"From the Bottom of the Sea." Even if this were 
not one of the most exciting and realistic dramas 
which have ever been staged, it would almost be 
worth booking on account of the bill. It is a 
poster which will simply drag the people in. — The 
Bioscope (London). 



Record Sale in England. 

Mr. J. Frank Brockliss, the London agent of 
the Imp Films Company, writes us that he has 
made an enormously large sale ot the celebrated 
Imp picture, "From the Bottom of the Sea," 
which as all Impleteers — that is, readers of "The 
Implet" know — is still attracting favorable at- 
tention in all parts of the United States. 

"From the Bottom of the Sea" is still selling 
across the Atlantic, and, so far, its sale is larger 
than that of any other American made Indepen- 
dent Moving Picture. 

It is an Imp record and an Independent rec- 
ord! 



The Sherman Law and the Moving Picture Business 



The public attention has been so concentrated 
upon those sections of the Sherman Law which 
can be enforced only by the Department of Jus- 
tice, that many people who have been injured by 
violators of that statute never knew, or have 
forgotten, that it contains one section which is 
devoted entirely to their wrongs and their reme- 
dies That is Section 7 of the statute, and that 
section is as follows: 

"Any person who shall be injured in his busi- 
ness or property by any other person or corpora- 
tion by reason of anything forbidden or declared 
to be unlawful by this act, may sue therefor in 
any Circuit Court of the United States in the 
district in which the defendant resides or is found, 
without respect to the amount in controversy, and 
shall recover threefold the damages by him sus- 
tained, and the costs of suit, including a reason- 
able attorney's fee." 

Section 8 of the statute also provides that the 
word "person" wherever it is used in the statute, 
shall be deemed to include any corporation or 
association lawfully existing anywhere. 

Many thousands of persons, corporations and 
associations at this moment have rights of action 
under Section 7 of the Sherman Law, against one 
or more of the many hundreds of persons or cor- 
porations which have been violating that statute, 
and have thereby been inflicting injury upon the 
business of those many thousands of persons, 
corporations and associations. Moreover, each of 
these rights of action is good for three times the 
amount of damages sustained, as the result of the 
injury upon which it is based, plus the costs of a 
proper suit to recover that money, and plus also 
a reasonable fee to be paid to the attorney who 
prosecutes the suit. 

Now that the Supreme Court of the United 
States in the Standard Oil case and also in the 
American Tobacco case, has decided that the 
conduct of the numerous defendants in these cases 
constituted violations of the Sherman Law, it is 
in perfect order for the thousands of persons, cor- 
porations and associations who have been injured 
by these violations, and by other violations of the 
Sherman Law by other combinations in restraint 
of trade or commerce, to bring suits against those 



violators to recover the judgments to which, ac- 
cording to Section 7 of the Sherman Law, the 
injured persons, partnerships and associations are 
entitled. 

The proper step to be first taken by any cor- 
poration or association, which feels that it has a 
just grievance against some violator of the Sher- 
man Law, would consist in consulting, in a pre- 
liminary way, some good lawyer who is particu- 
larly acquainted with that department of practice, 
with a view to learn from him whether the par- 
ticular grievance in question does or does not con- 
stitute a proper foundation for an action against 
the party which has caused the grievance to be 
felt. It is not necessary to pay such a lawyer a 
large retainer before definitely learning from him 
what are the legal rights and remedies of the 
party consulting him; and therefore parties hav- 
ing grievances against violators of the Sherman 
Law should not hesitate or delay to definitely as- 
certain what are their rights and remedies. 

On October 12, the United States Circuit Court, 
sitting at Toledo, Ohio, handed down a decree 
disposing of the federal suit entered in the 
United States Circuit Court at Cleveland, on 
March 3 against thirty-five electrical and other 
manufacturing companies on the charge of en- 
gaging in "unlawful contracts, combinations and 
conspiracies to restrain the trade and commerce 
among and between the several states and terri- 
tories of the United States in incandescent lamps 
and to monopolize the same." 

The several companies comprising the electric 
trust are forbidden to make contracts with other 
manufacturers whereby the latter are bound not 
to _ sell their goods in open market. They are 
enjoined from discriminating against any dealer, 
jobber or consumer. They are enjoined from 
preventing the fixing of retail prices, they are 
enjoined from utilizing any patents which they 
may have or claim to have as the means of com 
trolling manufacturers. In other words, the vital 
principle of freedom of trade has been vindicated. 
Combinations or individuals are deprived of the 
power of coercing the individual tradesman in the 
exercise of his business. So far as the electric 
lamp industry is concerned, any one may now 
buy or sell where and as he chooses. 



INTERPRETIVE DANCING ON THE SCREEN 



Countess Thamara de Swirsky 



Dances for the Imps. 



An Unique Imp Film. 

The Imp split reel release of Saturday, March 
23rd, will consist in part of a remarkable picture 
illustrative of interpretive dancing. This is the 
first time this subject has been filmed, and it will 
probably be the last. The film will thus be alto- 
gether unique. 

The Imp Films Company, at great cost, secured 
the services of the Countess Thamara de Swirsky 
in making the dances. She has danced exclusively 
for an Imp film. She will not dance for any 
other moving picture. 

The Countess de Swirsky is a noble Russian 
girls who studied pianoforte playing in Paris and 
became an accomplished executant on the piano. 
Then she took up the study of interpretive danc- 
ing — that is, the representation of poetry and 
music by dances. Coming to this country two 
or three years ago, she appeared in the Metro- 
politan Opera House, New York City; at the 
Boston Opera House, and before many important 
social gatherings. By the aid of her art she in- 
terprets Oriental subjects, classical subjects and 
musical subjects. 

The series of dances which appear in the Imp 
release includes the dance, "Spirit of Music," a 
humorous dance, and a series of beautiful plastic 
poses. This film has been passed by the Na- 
tional Board of Censorship and is perfectly re- 
fined. It will be suitably tinted and is to be ac- 
companied by music especially chosen to illus- 
trate the various dances. 

Every exhibitor should demand, and insist on 
getting, the Imp split reel of March 16th, con- 
taining these remarkably beautiful dances by the 
Countess de Swirsky. The accompanying cut il- 
lustrates one of them. 




Countess Thamara de Swirsky 



FAR FROM THE BEATEN TRACK 



Copyright 1912 by Imp Films Company 






mm. 



A problem picture of two men and a woman. 

A strange man enters into the lives of a 

husband and wife up in the Hudson Bay 

territory, and the wife decides 

for the stranger. 



3-4-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



ffHKEB IMPS 



'filBES IMPS 
' EVERY WEEK* 

Us 



THE "IMPLET 



Imp Players: 

E. J. Le saint 



Mr. Le Saint, who joined the Imp Films Com- 
pany's acting force toward the close of the year 
1910, had had a lengthy and varied experience on 
the regular stage. He had been in the theatrical 
profession for fifteen years, playing everything 
from bits to leads. Stock work claimed him the 
best part of ten years. He was usually engaged 
for heavies, a line of work which Mr. Le Saint 
says he loved better than any. 

The Imp Films Company was the first moving 
picture company for which Mr. Le Saint worked. 
He remarked to us: "If the Imp Company con- 
tinues to treat me as they have in the past I am 
going to remain with them." 

Mr. Le Saint's work in the Imp pictures is al- 
ways finished and thorough, ranging between 
light comedy and very dramatic stuff. Imp fans 
will recall the fine part he played in "The Dumb 
Messenger." This was that of a very determined 
would-be burglar, who, however, was cured of his 
attempted perfidy by another and very real bur- 
glar. In "The Little Stocking," a Christmas 
story, Mr. Le Saint played the part of a good- 
natured genial friend of a young man who went 
West to make his fortune for his wife and daugh- 
ter. The success of this film hinged upon Mr. 
Le Saint's characterization of the friend of the 
dead man. 

Then there is that brisk comedy, "All a Mis- 
take," in which we again see Mr. Le Saint in one 
of his genial roles. By way of contrast to this, 
he is the alcoholic old rake in "Where Paths 
Meet," a gruesome but fine piece of heavy acting. 
Still more recently Mr. Le Saint made a welcome 
first appearance in "The Rose of California," in 
which he played the Padre. 

Mr. Le Saint is personally the very pink of 
good nature and is well liked by all who come 
in touch with him. 

T. B. 




CASTS OF THE IMP PLAYS 



"FAR FROM THE BEATEN TRACK." 

(Imp Drama. Release, Monday, March 4, 1912.) 
Written and Produced by Otis Turner. 

MARIE SIMMS Vivian Prescott 

NAT SIMMS King Baggot 

CORLISS RALEIGH W. R. Daly 



"THE CALL OF THE DRUM." 

(Imp Drama. Release, Thursday, March 7, 1912.) 

Written by L. E. Sweetser, Belfast, Me. 

Produced by F. J. Grandon. 

CORPORAL ELLISON Harry Pollard 

ETHEL BRADY Margarita Fischer 

EUGENE BRADY Edward Lyons 



"THE HOME STRIKE-BREAKERS." 

(Imp Comedy. Release Saturday, March 9, 1912.) 

Written by Chas. Ade, Joplin, Mo. 

Produced by W. R. Daly. 

DICK SPIVENS H. S. Mack 

MICHAEL MCCARTHY J. R. Cumpson 

MRS. MCCARTHY Mrs. Weston 



"THE IMPLET" IN ENGLAND. 

"The Implet" is the title of a little eight-page 
sheet edited by Mr. Thomas Bedding, mainly to 
further the interests of the Imp Films Company 
and to spread a wider knowledge of moving pic- 
tures throughout America and elsewhere. The 
first number contains a sketch of Mr. Carl Laem- 
mle and reviews of some of the coming Imp re- 
leases, together with a biography of Mr. King 
Baggot, one of the Imp Stock Company, and 
other interesting items. — Kinematograph Weekly. 



ON THE SCREEN 

By "Lux Graphicus." 



My favorite recreation is feeding the squirrels 
in Central Park. I thought that I had a monop- 
oly of the knowledge of this fact, but it has 
leaked out. I am no longer monarch of all I 
survey, with the squirrels for my companions, like 
another Robinson Crusoe on a desert island. 
Maude Barrymore has found me out. Her en- 
thusiasm has led her to invade my retreat. So if, 
reader, at any time you should be passing the 
squirrel part of Central Park and see a tall, mel- 
ancholy looking man listening to the outpourings 
of a beautiful blonde, do not mistake things. It 
is just "Lux Graphicus" listening to Maude Bar- 
rymore. 



The other morning there was a frou-frou and 
a rustle of feminine flounces. Maude had hopped 
out of her auto and spied me communing with 
nature, plus the squirrels. Breathlessly she start- 
ed: "That 'Rose of California' of yours, with 
that dear, delightful Mr. Le Saint as the Padre; 
Margarita Fischer, as the lovely little Donna 
Rosa; Harry Pollard as the young American: the 
horse riding, the Mission architecture; the moun- 
tains; the furious old Ranchero, and all of that. 
Oh, MY, Luxy!" 



"What about it?" said I, for at that moment my 
mind was more intent upon the peanut which the 
pretty, little brown fellow was timidly advanc- 
ing to take from my fingers. "What about it?" I 
repeated. There was a pause. I looked up into 
the glorious eyes of the beauteous Maude. She 
IS beauteous, too. Everybody says so when they 
see her on the Broadway stage; when they see 
her pictures in my favorite papers, the Dramatic 
Mirror, and the Morning Telegraph; above all 
things, when they see the delightful girl herself 
leaning back in her incomparable limousine in 
that part of Central Park where the squirrels do 
not intrude. 



"What about it?" repeated Maude. "Why, Luxy, 
it is this: That picture is just full of the atmos- 
phere and sentiment of the subject. Now, it is 
not a very melo-dramatic story, but it is true to 
life, naturally drawn, and oh, so very cleverly 
acted, especially by Margarita Fischer! You 



know, Luxy, I just love that dear girl.- She is 
quite too clever for anything in all she under- 
takes." 



"But the settings! They are splendid. How 
I would like to, if possible, transport my Broad- 
way audiences to that lovely San Gabriel and act 
before them, as Miss Fischer acted there for that 
picture. But, deary me, we cannot have every- 
thing in this world. I suppose! Fancy, Luxy, I 
am drawing $2,000 a week, and here am I dis- 
contented with my lot." 



"Why is it, I wonder? I suppose it is because 
I see that your players in such a picture as "The 
Rose of California" can really let themselves go 
in the proper environment of the subject. Why, 
Luxy, Mr. Le Saint, Miss Fischer, Mr. Pollard 
and the other people, must have actually FELT, 
down there at San Gabriel, as if they were the 
REAL people they impersonated, much more 
easily than they could have felt if they had been 
acting on a Broadway stage." 

"So you like the picture, Maude?" said I. "Like 
it?" she replied. "I JUST LOVE IT! It is so 
full of atmosphere, sentiment and, to me, at any 
rate, convincing. I declare to you, Luxy, that 
your Imp pictures, the more I see them, the more 
they are convincing me. I started in to criticise 
them. Then I began to like them. Then to love 
them. Now, the conviction of their fine qualities 
is — is — is — well, it is just obsessing me. Know 
what I mean?" I said I THOUGHT I knew. I 
didn't. "So glad!" she replied. "Won't you send 
me to California one of these days?" I mildly 
hinted that the Company might possibly avail 
themselves of Maude's services in the sweet by 
and bye. 



"That's a good boy." replied Maude. "Guess 
I'll leave you to your squirrels now. My car's 
waiting. I must be off . Shall I see you at Mrs. 
Vanderbilt's reception to-night?" I replied that 
if I could spare time from my appointment with 
Mr. Andrew Carnegie I would meet the dear girl 
at Mrs. V.'s. So off she went and left me to my 
squirrels. 





THE CALL OF THE DRUM 



Cnpyrigfit 1912 by Imo Films Company 



..■ '. . .:. . ' ' ■.:: 




An old soldier is lured back from civic 

life to the society of his former 

comrades-in-arms. 



3-7-12 



IMP FILMS COMPANY 

102 West 101st Street, New York Carl Laemmle, Pres. 



THE "IMPLET" 



"FAR FROM THE BEATEN TRACK." 
(Imp Drama. Release, Monday, March 4, 

It is so much the fashion amongst moving pic- 
ture makers to send out films which have the con- 
ventional happy ending that some degree of in- 
terest will no doubt be aroused by the fact that 
"Far From the Beaten Track" is not cast on con- 
ventional lines. Otis Turner, the author and pro- 
ducer of this picture, feels that in this play he- 
has made a departure which is demanded by many 
moving picture theatre exhibitors. These people, 
and through them the public, want something dif- 
ferent than the conventional story conventionally 
treated. 

Then again Mr. Turner has evidence that in 
Europe such a subject as this will be appreciated. 
It will be of interest to us of "The Implet" and 
other manufacturers to see the result of this ex- 
periment. 

The story is boldly drawn and clearly treated. 
Into the lives of a couple living remote from the 
centers of civilization comes another man. Life 
for a woman, amongst snowy solitudes, where 
her husband has to trap animals for their skins, 
is brightened by the advent of this handsome and 
sporting stranger. 

The visitor and the wife fall in love. The hus- 
band discovers the fact, but keeps it to himself, 
and only discloses his knowledge when the other 
man falls into a trap, is lamed and is tended by 
the wife. The husband accepts the situation, 
after the wife has transferred her affections from 
him to the stranger; leaves them together, and 
returns to his lonely home. 

The play is a perfect piece of stage construc- 
tion; the scenes are beautifully rendered; the set- 
tings well chosen, and the acting is just what 
would be expected from three such artists as 
King Baggot, W. R. Daly and Vivian Prescott, 
but — is the interrogation ending to the liking of 
the exhibitors and through them the general 
public? 

It will be interesting to see if it is. If you 
glance at the synopses of most American picture 
makers, you will find that the vast majority of 
the stories have happy endings, or rather the 
audience is not left in doubt as to the issue of 
things. 

In "Far From the Beaten Track" when you rise 
from your seat in the theatre, you are left to 
conjecture what happens to the husband, and to 
his wife and the other man. This is certainly a 
powerful, if problematical, ending. 



"THE CALL OF THE DRUM." 

(Imp Drama. Release, Thursday, March 7, 1912.) 

The second Imp California release takes for its 
theme a very pretty piece of sentiment. All of 
us are swayed by sentiment at times; few of us 
are able to resist the blandishments of attractive 
old associations. It is said when an actor gets a 
holiday he passes his time in going to see other 
actors act; the force of old association is so 
strong upon him. 

Old soldiers like to associate with each other, 
and. to the civilian, never look so nappy as when 
they are living their martial days over again. 

Old Corporal Ellison was unable to resist the 
glamour of his former life, although his newly 
married daughter tried very hard to break him in 
to a new condition of things. She had just gotten 
married and there was room for the old man in 
her home. Woman-like, she thought it was easy 
to make him comfortable in his declining years; 
probably she had visions of making him useful 
about the house, getting him to tend the garden 
and run errands when hubby was not about. 

Now old Corporal Ellison dreamed dreams, and 
mighty stirring dreams they were. The com- 
rades of the old days appeared to him. He saw 
them as he used to see himself when on the bat- 
tlefield. He heard the trumpet and the drum and 
the rhythmical tread of the men with whom he 
fought and, maybe, bled. It came to this that 
he was unable to resist returning to his old com- 
rades in the Soldiers' Home, which both he and 
they loved so much. So away he goes, being 
pursued by the young couple in a very up-to-date 
automobile, indeed. But sentiment triumphed, 
and the newlyweds went home without the vet- 
eran. 

The picture is remarkable for the fact that 
Harry Pollard appears in the character of the old 
soldier, a somewhat new role for him. Pollard, 
in fact, is the play. He carries the whole thing 
through on his own shoulders from start to finish. 

The settings are delightful and fresh. After 
the familiar views of the East, they must greet 
audiences with extra freshness. "The Call of 
the Drum" is a powerful Imp offering, and it is 
full of tenderness and sentiment and nicely graded 
acting. 



The Implet Endorses The Sales Co. 



The following circular has been issued to Ex- 
hibitors by the Motion Picture Distributing and 
Sales Company. "The Implet" endorses every 
word of the circular: 

Dear Mr. Exhibitor: 

The Motion Picture Distributing and Sales 
Company has just won a most important legal 
decision. 

On February 5th, 1912, Judge Hand of the 
United States District Court for the Southern 
District of New York, rendered decision in the 
suit for alleged infringement of the Latham Pat- 
ent 707931, brought by the Motion Picture Pat- 
ents Company, against the Independent Moving 
Picture Company of America, dismissing the Bill 
of Complaint on the ground of non-infringement, 
with costs. 

This is indeed a great victory for the Indepen- 
dent cause, and it is due solely to the efforts of 
the Motion Picture Distributing and Sales Com- 
pany. 

This patent, it was claimed, covered and con- 
trolled not only all of the projectors employed by 
the Independent Exhibitors throughout the coun- 
try, but also all the cameras employed by all the 
Independent Film Manufacturers. It specifically 
claimed the continuous feed by means of sprocket 
and perforated film, also the loop or slack portion 
of film which supplied the intermittent feed. 

Can you realize just how sweeping is the claim 
of the Patents Company and what it means to 
you and every one engaged in Moving Picture 
Industry — outside of the Trust — to defeat this 
suit. 

The absolute justice of our cause we have never 
for a moment doubted. 

The claims of Latham, the patentee (but not 
the inventor), are absurd; they were discredited 
by everybody until they were brought up and an 



attempt made to enforce them by the power of 
money. 

The power of money secures for the trust the 
best legal talent in the land. We are compelled 
to secure equal talent regardless of the cost. 

We have no fear of the ultimate outcome of 
these law suits. We will defeat them in the end 
as we have defeated them in the beginning. We 
ask no contributions and we expect none, but we 
do ask for your support and we expect it. We 
ask for it unreservedly and exclusively. 

The Motion Picture Distributing and Sales 
Company stands alone the champion of the Inde- 
pendent Cause. Its fight is your fight. But for 
that fight the Trust would monopolize the Moving 
Picture Industry; establish all its own exchanges, 
tax all exhibitors for the use of projectors, dic- 
tate what service they should use and what price 
they should pay. If you do not want to be dom- 
inated by the trust you must stand by the Sales 
Company. Stand by us now as you stood by us 
in the beginning. 

Every Exhibitor is benefited by the fight the 
Sales Company is putting up. You need us and 
we need you. When you are tempted to use 
other films than the Sales Company's, remember 
that you are throwing away ammunition that 
could be used to fight your battles. We want 
your support. You can strengthen our hand. 
We must retain the best legal talent in the land. 
You can help us. How? By using the Sales 
Company's Films exclusively. Do this and de- 
pend upon us to defend you against law suits and 
injunctions for alleged infringement of patents, 
and we will not fail you. 

Let your motto be one for all — and all for one. 
Yours very truly, 
MOTION PICTURE DISTRIBUTING AND 
SALES COMPANY. 



"THE HOME STRIKE-BREAKERS." 

(Imp $60 Prize Scenario Comedy. Release, March 
9, 1912.) 

Here's where we "busted" ourselves with laugh- 
ter and displaced several buttons from the ed- 
itorial vest in our hilarity. Charles Ade wrote 
this funny scenario, J. R. Cumpson and Mrs. Wes- 
ton acted it, and W. R. Daly produced it — one of 
the funniest combinations in recent Imp releases. 

Here's the story, and a jolly good story it is: 
"Mickey" McCarthy and his associates struck 
work and left the builder-man in a dilemma. He 
offered $500 reward to anybody who would "break 
the strike." The strike-breakers formed a local, 
and elected "Mickey" as president. But this sort 
of thing did not fill the cupboards of the strike- 
breakers' wives' kitchens. So the wives set the 
men to work and formed their own local. 

And the woman's local got the business, and 
they went to laying bricks, which work the men 
had neglected. Mighty fine workers the women 
started to be, until the men got sick of the wash 
tub and similar occupations and sneaked back to 
brick laying. Meanwhile, the builder-man kept 
his promise, paid out the $500 check to the 
"strike-breaker." And who should this be but 
Mrs. McCarthy, who thus cured her husband of 
laziness and fool "local" propositions, and pock- 
eted $500 besides. 



Now, we who write this are very solemn per- 
sons, as the readers of "The Implet" know, but 
we swear to you by all our gods and goddesses 
that we screamed ourselves into violent headaches 
when we watched this picture. 

It is the funniest Imp comedy, acted by the 
funniest collection of funny actors, which has 
recently been released. 



"RHODA ROYAL'S TRAINED HORSES." 

(On the same reel as "The Home Strike- 
Breakers.") 

The animal is always popular in moving pic- 
tures. It does not matter whether it is a dog, or 
a cat, a buffalo, elephant or a horse. The chil- 
dren amongst audiences always appreciate this 
sort of thing. 

They will surely appreciate the film illustrating 
Rhoda Royal's Trained Horses. The Rhoda 
Royal Circus is very well known throughout the 

country for the beauty and cleverness of its an- 
imal performers. In this picture we see horses, 
dogs, and other animals being put through their 
evolutions. They do clever tricks in a way which 
suggests that they like it. 

The film, besides being interesting in virtue of 
its subject, is a very fine piece of photography. 





Scene from "FAR FROM THE BEATEN TRACK' 



? I 



THE HOME STRIKE BREAKERS 



Copyright 1912 by Imp Film* Company 



THIS LOCAL i 

Tl/f 1I6HTI 
flu M 



V- 



mm 



/* 



it 



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f - . 



'ff 



/ 



SS 



£ : :r: 



x ' 



Mrs. Michael McCarthy breaks up a strike of which her 

husband is the leader and pockets a reward 

of $500 for doing so. 



On the same reel, "RHODA ROYAL'S TRAINED HORSES" 

a fascinating animal study. 



3-9-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



8 



THE "IMPLET" 



LIKE THE "IMPLET" AND 
THE "IMPS" 



LIKES THE IMPS. 

To the Editor.. 

Sir: Congratulations on publicity for Carl 
Miller (whom 1 esteem as a personal friend). My 
Exchange does not buy "3" Imps. Have used the 
Anvil Chorus to a finish, for them to furnish me 
with all Imps, but unavailable. Please advise im- 
mediate vicinity Exchange who does buy Imps, 
sufficient to supply "3" Imps each week. Pro- 
gram changes daily. Must have "2" Thanhouser, 
also, each week. Using 18 reels each week. Keep 
it up. GREAT! 

Respectfully, 

B. E. REYNOLDS. 
The Star Theatre. 

Ann Arbor. Mich.. Feb. 6, 1912. 

(See page 2. No. 6, of "The Implet") 



LIKES THE IMPS AND "THE IMPLETS." 

To the Editor, 

Sir: Allow me to compliment you on your 
comedy production, "The Winning Miss." I do 
not hesitate to say that this is the best comedy 
that I have seen in the last two years, and I 
believe it shows King Baggot to better advantage 
in comed3 r than in drama. 

I would like to know if it be possible for me 
to engage Mr. Baggot as a special attraction for 
my theatre every Friday evening or any other day 
that it is convenient for him. 

Will you kindly let me hear from you on this 
matter and oblige 

Yours very truly, 

G. A. ROBINSON. 
Colonial Theatre. 

West Hoboken, N. J.. Feb. 1, 1912. 



LIKES THE IMPS. 



To the Editor, 

Sir: The Imp pictures are simply grand. "The 
Greatest Dam in the World" is a wonderful pic- 
ture. I wish the third Imp picture would all be 
of this nature, scenic or industrial. 
Yours truly, 

L. C. SEVERNS. 
The Crescent Theatre. 

Holdrege, Nebr., Feb. 8, 1912. 



LIKES THE IMPS AND "THE IMPLET." 

To the Editor, 

Sir: I am receiving "The Implet" and am cer- 
tainly proud of it. The contents are bright, 
sparkling and businesslike, and it certainly is a 
fine addition to an already fine production, "The 
Imp Pictures." You may be able to improve Imp 
pictures, but I doubt it, and can't see where I 
could suggest but one thing, and that is "more 
of them." 

I would like to have you send me "Brickbats 
and Bouquets," and you will find enclosed 50 cents 
for a set of photographs of the Imp players. 

Thanking you for your kindness in all matters, 
I remain, 

Yours truly, 

CHARLES DILL. 
Alhambra Theatre, 

Clarksdale, Miss., Feb. 7. 1912. 

P. S. — "When you see three devils that's the 
place I like to go; and if 'Hell' is like the pictures, 
then let me go down below." 



LIKES "THE IMPLET" AND THE IMPS. 

To the Editor. 

Sir: I have been receiving your circulars, also 
"Implet." which is very interesting. 

I have my lobby all decorated with Imp circu- 
lars, and find they are quite an attraction to my 
patrons, who stand and read them, and when I 
show an Imp film; it is always a business-getter. 

There is nothing so good as the IMP. I heartily 
congratulate you on the fine work. 

Please send me prices on photos of your entire 
company. You certainly are a star company, 
and your photography can't be beat. My ex- 
change can't send me too many Imp films. I 
would run one every day if I could get it. 

With best wishes and hoping you keep on with 
the good work, I am 

Respectfully vours, 

J. M. PETER. 

Mgr. Grand Theatre, 

Mineral Point, Wis., Feb. 13, 1912. 



INDEPENDENT PROGRESS 

By Carl Laemmle. 

In my recent trip to the West I touched at, amongst other cities, Chicago, Minneapolis, 
Des Moines, and Omaha, putting in a few days of much needed rest at French Lick- 
Springs, Ind. 

The matters in which I was the more immediately concerned were, of course, the 
exchange and other businesses with which I myself am identified. But it is not necessary for 
me to touch on that. Nor under the circumstances will I say anything about the progress 
of the Imp Films in popularity with exchanges, exhibitors and the public. There are 
other pens at work in this publication which can more appropriately do this. 

As a manufacturer of independent films, I addressed myself to the task of ascertain- 
ing what progress, if any, had been made by the Independent Manufacturers in the sec- 
tion of the country which I visited. 

It is undoubtedly a fact that the Independent Side of the business now equals, at 
least, 50 per cent, of the whole. The signs indicate that there is a likelihood of even a 
greater percentage falling to the Independent Manufacturers. 

Aside from sentimental reasons there is an additional and very strong cause indeed 
for this. Independent quality has advanced considerably in the last four months ; the 
average quality has ascended very rapidly indeed. Several Independent Manufacturers 
are noticeably making very fine pictures. The American Company is producing 
many excellent Western films. The Solax, The Bison, The Thanhouser, The Rex, The 
Reliance and others are all putting out fine pictures. 

In general it may be said that the Sales Company's program is very popular indeed 
with Independent exhibitors, who are increasing all the time. 

To show how Independent exhibitors are increasing in numbers, I will mention that 
in Des Moines, some months ago, there were seven licensed houses ; now, there are only 
two ; the other five are running Independent films. 

In the exchange end of matters much important work remains to be done, but the 
outlook is promising. As stated in The Implet in recent numbers the important point to 
keep in view is to maintain and, if necessary, to uphold and advance the quality of the 
Independent picture. Then the exhibitors will undoubtedly respond to the manufacturers' 
efforts to give them good pictures. 



CALENDAR OF IMP RELEASE DATES 

Thursday, February 1 — The Power of Conscience, 



Drama 



Saturday, February 3 — O'Brien's Busy Day — Brown Moves in Town, 



Comedy 



Monday, February 5 — The Helping Hand, 



Drama 



Thursday, February 8 — Mrs. Matthews, Dressmaker, 



Drama 



Saturday, February 10 — Who Wears Them (Comedy), Tea Industry, 



Industrial 



Monday, February 12 — Reflections from the Firelight, 



Drama 



Thursday, February 15 — -Through the Flames 



Drama 



Saturday, February 17 — Tables Turned 



Comedy 



Monday, February 19 — A Modern Highwayman 



Drama 



Thursday, February 22 — The Lie 



Drama 



Saturday, February 24 — The Broken Lease 



Comedy 



Monday, February 26 — The Immigrant's Violin 



Drama 



Thursday, February 29 — The Rose of California 



Drama 



Saturday, March 2 — The Right Clue — Beat at His Own Game 



Comedy 



LIKES THE IMPS. 

To the Editor. 

Sir: Am getting "The Implet." Great! De- 
lighted! I wonder if 200 or 80 Fifth Avenue know 
about it? Surely they know! Else they would 
not notify me that I have no right to run "Inde- 
pendent stuff." I was so scared from their no- 
tice that I called up my exchange, Buckeye Lake 
Shore Film Co., Columbus, O., and insisted on 
having my 3 Imps weekly. 

Yours, 

SAM HANTMAN. 

Mgr. Princess Theatre, 

Mt. Vernon, O., Feb. 13, 1912. 



ANSWERS TO CORRESPONDENTS. 

Name of Character. — Sam Hantaan writes: 
Kindly let me know the name of the lady who 
played with King Baggot in "His Dress Shirt." 

In Reply. — The lady was Mary Pickford. and 
her husband was not King Baggot, but W. R. 
Daly. 

Names of Characters. — L. F. writes: Please 
give me the names of the actors who played the 
parts of the Lieutenant in "From the Bottom of 
the Sea" and the lead in "Executive Clemency." 

In Reply. — William E. Shay was the Lieuten- 
ant in the film "From the Bottom of the Sea," 
and King Baggot played the male lead in "Ex- 
ecutive Clemency." 

Name of Character. — J. G. writes: Please tell 
me the name of the actor who played the "Gen- 
tleman Burglar" in "The Dumb Messenger." 

Reply. — E. J. Le Saint. 




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"THE IMPLET" ENDORSES THE NA- 
TIONAL EXHIBITORS' LEAGUE 
AND ALL STATE ASSOCIA- 
TIONS OF EXHIBITORS. 

There are two friends of the motion-picture 
exhibitor in this country. One is Carl Laem- 
mle. the author of the article printed on the 
back page of this number of The Implet. His 
friendship for the exhibitor is so well known 
as to have become proverbial. 

The other friend of the exhibitor is the editor 
of The Implet, whose weapon is his pen. This 
pen was wielded so forcibly on behalf of the 
exhibitor in the fall of 1910 that the enemies 
of the exhibitor prevailed, and his pen was 
reduced to idleness. 

In the months of September and October 
the editor of this paper, in a series of articles 
printed elsewhere, outlined the need of the 
moving-picture Convention or League. This 
was the first time the suggestion was ever 
made. The ink of the first article was hardly 
dry when the Moving Picture Exhibitors' 
League was organized in Columbus, Ohio. 

To-day the Moving Picture Exhibitors' 
League is a great power. Nearly half of the 
state exhibitors' associations are affiliated with 
the National League, which holds its conven- 
tion at Chicago, 111., in next August. 

The Implet desires to go on record as plac- 
ing itself in line with the Exhibitors' League, 
and also with all exhibitors' associations 
throughout the country. Their objects are our 
objects. Our columns are open to their com- 
munications. Their success is our success. 

The Implet is the one and only publication 
in existence which directly appeals to the ex- 
hibitor. It embodies a policy independently ar- 
rived at by Carl Laemmle and the editor of 
The Implet years ago. Therefore, it may claim 
to be consistent and consecutive in that policy. 
No other publication can justly make that 
claim. 

Mr. Exhibitor, we, therefore, urge you, wher- 
ever you are, to join your local or state exhibi- 
tors' society. We urge each state exhibitors' 
association to become affiliated to the National 
League. By so doing the exhibitor becomes 
what he has been urged to become so fre- 
quently by the sponsors of this paper — the 
chief factor in the moving-picture business. 

All exhibitors' association news will appear in 
our columns in due course. Those columns are 
open to individual associations and individual 
members of them, who will be guaranteed free- 
dom of utterance in our pages. 

Write to us. 



STEREOSCOPIC MOVING PICTURES. 

By the voluminous press clippings that are 
before us at this moment, we perceive that 
an old delusion is still prominent in the minds 
of lay writers on the motion picture. By "lay" 
writers, we mean the horde of superficialists, 
who, though absolutely ignorant of the theory 
and practice of the subject, yet have the hardi- 
hood to scribble in the newspapers and maga- 
zines on the subject. One of the pet themes 
of these people is the prediction of the time 
when we shall see moving pictures stereoscop- 
ically. This we shall never see in any useful 
degree. 

The Implet. as time goes on, will deal with 
the subject of the motion picture in all its as- 
pects — theoretically and practically, scientifi- 
cally and progressively, optically, "chemically, 
physically— in fact, the paper will cover the entire 
field of the picture more completelv than any 
other publication in the world. 

That being so, we ask our numerous readers 
to accept the assurance that when they see 
paragraphs in the newspapers referring to 
stereoscopic motion pictures thev are based on 
insufficient knowled.ee of the subject. 

Stereoscopic moving- pictures can be made: 
they can be projected, but they cannot be prop- 
erly perceived by unaided vision. You must 
have a special kind of spectacle for enabling 
you to look at them — so that the left eye sees 
the left half of the picture and the rieht eve 
sees the right half of the picture. This is "in 
accordance with the theory of binocular vision, 
which dates back not merely hundreds, but 
thousands, of years. In fact, the old Greek 
philosophers dealt with the subject. 

Then, when you get your spectacles and look 
at your duplicated pictures you cut off so much 
light that the exhibition is worthless. 

This is a plain statement of the reasons why 
stereoscopic moving pictures are impracticable. 

If any of our exhibitor readers want fur- 
ther information on the subject and will let 
us know we will be pleased to give it in these 
paees. 

While on the subject of the scientific side of 
the picture, we will also say to our readers that 
if they want any particular phase of the matter 
dealt with here, and they will let us know, we 
will write the article and print it in The Implet. 

As we have said before, we want The Implet 
to deal with every phase of the motion picture. 

We have in preparation a lone series of 
articles on the technology of the subject. Thus 
the paper will contain something suitable for 
all tastes, those nf the exhibitor," the exchange 
man, the manufacturer and the general public. 

The Implet. as we state overleaf, is the mov- 
ing-picture newspaper. In time it is to be the 
recognized authority on the subject of the pic- 
ture. 



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THE "IMPLET 



<W»t "31mplet" 

The Moving Picture Newspaper 

Edit* d by THOMAS BEDDING 
Published at 102 W. 101»tSt, New York 



SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY, 5 CENTS 

IMP NIGHT AT THE HUNGRY 
CLUB. 

On Saturday evening, February 24, 
the President of the Imp Films Com- 
pany Mr. Carl Laemmle, and Mrs. 
Laemmle, were the guests of honor 
at the 289th dinner of The Hungry 
Club, New York City. Miss Mattie 
Sheridan, President of the Club, was 
toastmaster, and in the course of a 
speech of welcome complimented the 
Imp films on their excellence of 
quality and subject. 

There was a very large attendance, 
which included Mr. J. Frank Brockliss 
(the London agent of the Imp films), 
Mr. Julius Stern, Mr. and Mrs. Ed- 
ward M. Roskam. and many members 
of the Hungry Club. 

A feature of the evening was_ a 
display of recent Imp releases, in- 
cluding "The Rose of California," 
"The Worth of a Man," and some 
comedies. These pictures were en- 
thusiastically received by the large 
company present. 

The editor of "The Implet" gave a 
talk on "How An Imp Film Is Made," 
which will form the subject of an ar- 
ticle in a forthcoming number of 
"The Implet." The function was en- 
joyable and successful throughout, 
and should do much to enhance the 
popularity of Imp films amongst the 
intellectual sections of the commu- 

CASTS Of? THE IMP PLAYERS. 
"A Timely Repentance." 

(Imp Drama. Release Monday, 
March 11th.) 

Written bv E. J. Afontague. 

Produced by W. H. Clifford. 

Tohn Crawford E. T. Le Saint 

Mrs. Crawford Lucille Younge 

Wilbur Robinson Wm. E. Shav 

Louis Nordell Farrel Macdonald 

Mrs. Nordell Mary Pickford 

Ronald Seymour H. S. Mack 

"Shamus O'Brien." 

(Imp Drama. Release Thursday, 

March 14th.) 

Written bv Herbert Brenon. 

Produced by Otis Turner. 

Shamus O'Brien Kins: Baggott 

Eileen Clary Vivian Prescott 

Mrs. O'Brien Rolinda Cambridge 

Michael O'Farrel W. R. Daly 

Captain McDonald Wm. E. Shay 

Father Malone Aug. Balfour 

Tim Mooney Herbert Brenon 

"Percy Learns to Waltz." 

(Imp Comedy. Release. Saturday, 

March 16, 1912.) 

Written bv Sidney Franklin. 

Produced by W. R. Dalv. 

PERCY J. R. Cumpson 

EDTTH Grace Lewis 

HARRY H. S. Mack 

THE COOK Freda Trinda 



"THE IMPLET MAIL BOX." 

(The Editor is at all times glad to 
answer questions relating to the Mov- 
ing Picture Business.) 



Do the pictures injure the eyes? 

W. Lord (Nashville, Tenn.) writes: 
I have had a dispute with a friend as 
to whether constant looking at the 
"movies" injures the eye-sight. Can 
yon give me any idea of whether they 
do? 

In reply: This is more properly a 
question for a surgeon-oculist, but we 
think that if the eyes are normal and 
the general health good there is no 
more danger likely to be caused to 
the eyes by looking at "movies" than 
there is at animated nature itself. Of 
course this presupposes that the 
"movies'" as you call them, are prop- 
erly made and properly projected. 



THE IMPLET MAIL BOX 

this question: Are Imp films duped? 
In reply: We hope not, but we do 
not know. If, however, our corre- 
spondent should get any evidence of 
probable duping and will let us know 
we will put our own private sleuth on 
the trail of the duper. 



Maude Adams on the screen. 

R. Jones (Brooklyn, N. Y.) writes: 
Now that Sarah Bernhardt and other 
great European actresses are being 
seen in the pictures, cannot some of 
us little fellows, who can only afford 
the price of a visit to a moving pic- 
ture house, see some such actress as 
Maude Adams on the screen? 

In reply: Maude Adams is under 
contract to Charles Frohman. It was 
said some time ago that she was of- 
fered and refused $50,000 to pose for 
a moving picture company. This was 
probably a press agent's yarn. 



Copyrighted moving pictures. 

Inquirer (Waterbury, Conn.) writes: 
Where can I learn something about 
the law of copyright as regards mov- 
ing pictures? 

In reply: We will have an article 
on the subject by and by. Mean- 
while, send on to the Government 
Printing- Office at Washington, and 
they will let you have a copy of the 
copyright law, 1909, for 10c. It is dry 
reading. Our article will be lighter. 
Wait for it. 



Addresses wanted. 

R. Long and others write us for 
the addresses of Miss Fischer, Miss 
Lewis and other members of the Imp 
Company. In reply: We beg to 

state in our largest type that WE DO 
NOT GIVE THE ADDRESSES OF 
OUR ACTORS AND ACTRESSES. 



Are Imp films duped? 

Implet Reader (who savs he does 
not want his name published) asks 



Raw Stock Makers. 

J. A. wants to know the addresses 
of raw stock makers. 

In reply: Eastman Kodak Com- 
pany. Rochester, N. Y.: Lumiere N. 
A. Company. 75 Fifth Avenue, New 
York City: The Fireproof Film Com- 
pany, Rochester. N. Y. : Raw Film 
Supply Company, 12 East Twenty- 
sixth Street, New York City. 



The first moving pictures. 

Simon asks: Who made the first 
moving picture? 

In reply: Plateau in the year 1832 
is generally credited with having made 
the first motion picture. But it was 
not the kind of moving picture you 

I see on the screen to-day. Will tell 
you more about it in the near future. 



Exhibitors' Associations. 

W. & S. want a list of the Exhibi- 
tors' Associations in the United 
States. 

In reply: It is difficult to tell you 
at present, but we will print a list in 
an early number. 

How moving pictures are made. 

E. Sorrel (Providence, R. I.) asks: 
Can you tell me how moving pictures 
are made? 

In reply: Hepworth's book on the 
subject, written some years ago, will 
give you a few hints. It is published 
by Tennant & Ward. 125 East Twen- 
ty-fifth Street, New York City. 

Moving picture hand camera. 

L. Wilson asks: Is there such a 
thing as a moving picture hand cam- 
era? 

In reply: Yes, there is. You can 
get such an instrument from Carl 
Ernst & Co.. 154 East Twenty-third 
Street, New York City. 

Moving pictures in natural colors. 

Captain C. writes: Is there any 
method of making moving pictures in 
natural colors other than the Kinema- 
color which is now being shown on 
Broadway? 

In reply: Yes, there are several 
other methods just as good. 



LIKE THE IMPLET AND THE IMPS 



Feb. 22, 1912. 
To the Editor. 

Sir: I have received "The Implet." 
It's fine, and is on excellent way to 
describe the excellent Imp Films. T 
have just finished seeing "The Lie" 
in a local first-run theatre. That pic- 
ture was iust the right one to issue 
on Washington's Birthday. People 
all around me were saying, "Swell 
picture." "Verv good," and the like. 
Continue sending me "The Implet." 

Thanking you for same, I am 
Yours sincerely, 

MAX F. JUDELL. 

Milwaukee. Wis. 



Feb. 22, 1912. 
To the Editor. 

Sir: Received all the copies of 
"The Implet." Tt is certainly a great 
little paper. Let me give a sugges- 
tion that would be appreciated by 
Tmp Film exhibitors: 

If you were to get up a lantern 
slide, reading something like this one 
the top: "Another Subject in a Min- 
ute," or "Change of Program To- 
morrow," and under it von had as 
follows: "Read The Tmnlet" : Latest 
Stories of All Tmp Features Beauti- 
fully Illustrated. On Sale Here — 
Price, 5 cents," my opinion would be 
that it would help the exhibitor ad- 
vertise the Imps, and get the public 
better acquainted with "The Implet." 



As an admirer of the Imp Films, 
which have always been my features 
since the first picture released by vou 
in Canada, "Hiawatha," I am getting 
them all — two or three reels per week 
— and they are my success, along 
with a good selection of Independent 
features, which I think is the best or- 
ganization formed by your President, 
Mr. Laemmle. 

And in closing I will say with a 
good Imp and "The Implet" to ad- 
vertise, any manager with brains to 
back him should succeed. 
Yours truly, 

GEO. C. TALBOT. 

137 Albert St., Hull, Quebec. 



February 12, 1912. 
To the Editor. 

Dear Sir. — Have received copy of 
The Implet and think it splendid. 
I wish it all the success it deserves. 
I would suggest a double poster for 
vour split reel, giving names of both 
pictures. 
Wishing the Tmps much success. 
Yours trulv. 

E. A. RUDISILL. 
Screenland, Shelby, N. C. 



Fnnis, Tex., Feb. 14, 1912. 
To the Editor. 

Sir — I have received every issue of 
The Implet, and I am finding it as 
essential to my business as the three 



Imps per week, and you can bet that 
my exchange knows better than to fail 
to deliver the three Imps a week. 

Also please put my name down for 
a copy of Brickbats and Bouquets. 

With the best of wishes for The 
Imps and the Implet, I remain, 
Yours very truly, 
O. J. ANDERSON, Prop. 
The Lyric Theatre, 

Ennis, Tex. 



The Story of 
SHAMUS O'BRIEN 

We have an attractive 4- 
page booklet, nicely illus- 
trated, which tells the story 
of "Shamus O'Brien," in 
popular form, which we 
will be glad to furnish to 
exhibitors at actual cost, 
$2.65 per thousand, cash 
with order. 

Just the thing to give to 
your patrons. 

Imp Films Company 

102 W. 101st St., New York 



"SHAMUS O'BRIEN." 
(Imp Drama. Release. Thursday. 

March 14. 1912.) 
There is not an Irishman living who 
will not. we are sure, applaud this 
film to the echo. It is an Imp film 
"de luxe." The Company has spread 
itself out to give a realistic presenta- 
tion of Lover's well-known poem, 
which depicts the typical spirit of the 
son of Erin fighting against the Eng- 
lish soldiery and escaping from con- 
dign punishment to this country. 

Every Irishman loved a scrap in 
those days; he scrapped most of all 
and best of all with his English broth- 
ers. This sort of thing obtains more 
or less to the present day. The result 
is that in this story we have a perfect- 
ly human creation. The Irishman is 
always "agin" the government, who- 
ever and whatever the government is. 
Shamus was no exception to the rule, 
as the poem pointed elsewhere in this 
number will tell. 



This fine film is staged with all the 
realism and atmosphere which the sub- 
ject demands. The cast, as may be 
noted, is very Irish. King Baggot, as 
Shamus, finds a role which fits him to 
the life. Mr. Daly is also well suited. 
If we mistake not, Mr. Brenon has 
Irish blood in his veins, and we are 
not sure, but believe that Vivian Pres- 
cott, who plavs the heroine, is some- 
what of an Irish woman. The like 
also applies to William Shay. 

With such a story and with such 
actors there is nothing but enthusiasm 
shown in the work, and the result is a 
spirited Irish drama, which will please 
everybody who sees it. 

This is a 2,000 footer which is com- 
mended most cordially to every ex- 
change man and every exhibitor 
throughout the country. We ask all 
to join us in making Shamus O'Brien 
a great Imp success around and about 
i I'. i trick's Day. 



DEMAND THREE (3) A WEEK— 

AND "SHAMUS." 

This is not a joke in disguise, al- 
though Shamus as pronounced may 
cause it to seem so. 

As we make it the business of our 
lives to persuade every exhibitor to 
demand Three (3) Imps a week, and 
to get them, we make it now a spe- 
cial part of that business to urge 
him to get that magnificent Imp Film 
"de luxe," described and illustrated 
elsewhere, and which is the subject of 
the famous poem, which we also print 
and which tells the story. 

Mr. Exhibitor, some time ago we 
put out for you a feature film en- 
titled "From the Bottom of the Sea." 
This picture was a colossal Imp suc- 
cess and an Imp record. Tt is the 
talk of the world at the present time. 
Its fame is undying. 



But in "Shamus O'Brien" we have 
gone one better. Every man Jack of 
us on the Imp Films' forces is working 
as hard (and every woman Jill of us, 
too) to make "Shamus O'Brien" a 
romantic drama of rebellious times in 
old Ireland, a magnificent world win- 
ner. 

For the love of Mike, Mr. Exhib- 
itor, and for the love of yourself, de- 
mand "Shamus O'Brien." 

"Shamus O'Brien" will fill your 
houses to the bursting point. 

We are preparing some magnifi- 
cent one and three-sheet posters to 
illustrate this fine play, which will be 
a winner for you as well as for us. 

Demand "Shamus O'Brien" and in- 
sist upon having it. 



A TIMELY REPENTANCE 




Copyright 1912 by Imp Filmm Company 




A young wife who is tempted to go astray, 

is deterred from doing so by the good 

influence of a moving picture story. 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



>f HREB imps 
^ymf WEEK* 



TRIBES IMPS 
'EVERY WEEIC. 



THE "IMPLET" 



SHAMUS O'BRIEN, THE BOLD BOY OF GLENGALL 

The Subject of the Great Imp Drama Release of Thursday, March 14th. 



By Samuel Lover. 



Jist afther the war, in the year '98, 
As soon as the boys wor all scattered 

and bate, 
'Twas the custom, whenever a pisant 

was got, 
To hang him by thrial — barrin' sich as 

was shot. 
There was thrial by jury goin' on by 

daylight, 
And the martial-law hangin' the lavins 

by night. 
It's them was hard times for an hon- 
est gossoon: 
If he missed in the judges — he'd meet 

a dragoon; 
An' whether the sodgers or judges gev 

sentence, 
The divil a much time they allowed 

for repentance. 
\n' it's many's the fine boy was then 

on his keepin' 
Wid small share iv restin', or atin', or 

sleepin', 
An' because they loved Erin, an' 

scorned to sell it, 
A prey for the bloodhound, a mark for 

the bullet, — 
Unsheltered by night, and unrested by 

day, 
With the heath for their barrack, re- 
venge for their pay; 
An' the bravest an' hardiest boy iv 

them all 
Was Shamus O'Brien, from the town 

iv Glingall. 
His limbs were well set, an' his body 

was light, 
An' the keen-fanged hound had not 

teeth half so white; 
But his face was as pale as the face 

of the dead, 
And his cheek never warmed with the 

blush of the red; 
An' for all that he wasn't an ugly 

young bye, 
For the divil himself couldn't blaze 

with his eye, 
So droll an' so wicked, so dark an' so 

bright, 
Like a fire-flash that crosses the depth 

of the night! 
An' he was the best mower that ever 

has been, 
An' the illigantest hurler that ever was 

seen. 
An' his dancin' was sich that the men 

used to stare, 
An' the women turn crazy, he done it 

so quare; 
An', by gorra, the whole world gev it 

into him there. 
An' it's he was the boy that was hard 

to be caught, 
An' it's often he run, an' it's often he 

fought, 
An' it's many the one can remember 

right well 
The quare things he done; an' it's 

often I heerd tell 
How he lathered'the yeomen, himself 

agin' four, 
An' stretched the two strongest on old 

Galtimore. 
But the fox must sleep sometimes, the 

wild deer must rest, 
An' treachery prey on the blood iv the 

best; 
Afther many a brave action of power 

and pride, 
An' many a hard night on the moun- 
tain's bleak side, 
An' a thousand great dangers and toils 

overpast, 
In the darkness of night he was taken 

at last. 



Now, Shamus, look back on the beau- 
tiful moon, 
For the door of the prison must close 

on you soon, 
Take your last look at her dim, lovely 

light, 
That falls on the mountain and valley 

this night; 
One look at the village, one look at 

the flood, 
An' one at the shelthering, far-distant 

wood; 
Farewell to the forest, farewell to the 

hill, 



An' farewell to the friends that will 

think of you still; 
Farewell to the pathern, the hurlin' an' 

wake, 
An' farewell to the girl tnat would die 

for your sake! 
An' twelve sodgers brought him to 

Maryborough jail, 
An' the turnkey resaved him, refusin' 

all bail; 
The fleet limbs wor chained, an' the 

sthrong hands wor bound, 
An' he laid down his length on the 

cowld prison ground, 
An' the dreams of his childhood kem 

over him there 
As gentle an' soft as the sweet sum- 
mer air; 
An' happy remembrances crowding on 

ever, 
As fast as the foam-flakes dhrift down 

on the river, 
Bringing fresh to his heart merry days 

long gone by, 
Till the tears gathered heavy and thick 

in his eye. 
But the tears didn't fall, for the pride 

of his heart 
Would not suffer one drop down his 

pale cheek to start; 
An' he sprang to his feet in the dark 

prison cave, 
An' he swore with the fierceness that 

misery gave, 
By the hopes of the good, an' the 

cause of the brave, 
That when he was mouldering in the 

cold grave 
His enemies never should have it to 

boast 
His scorn of their vengeance one mo- 
ment was lost; 
His bosom might bleed, but his cheek 

should be dhry, 
For undaunted he lived, and undaunt- 
ed he'd die. 

Well, as soon as a few weeks was over 

and gone, 
The terrible day iv the thrial kem on; 
There was sich a crowd there was 

scarce room to stand, 
An' sodgers on guard, an' dhragoons 

sword in hand; 
An' the court-house so full that the 

people were bothered 
An' attorneys an' criers on the point 

iv bein' smothered; 
An' counsellors almost gev over for 

dead, 
An' the jury sittin' up in their box 

overhead; 
An' the judge settled out so detar- 

mined an' big, 
With his gown on his back, and an 

illegant new wig; 
An' silence was called, an' the minute 

it was said 
The court was as still as the heart of 

the dead. 
An' they heard but the openin' of one 

prison lock, 
An' Shamus O'Brien kem into the 

dock. 
For one minute he turned his eye 

round on the throng, 
An' he looked at the bars, so Firm and 

so strong, 
An' he saw that he had not a hope 

nor a friend, 
A chance to escape, nor a word to 

defend; 
An' he folded his arms as he stood 

there alone, 
As calm and as cold as a statue of 

stone; 
And they read a big writin', a yard 

long at laste, 
An' Jim didn't understand it, nor mind 

it a taste; 
An' the judge took a big pinch iv 

snuff, an' he says, 
"Are you guilty or not, Jim O'Brien, 

av you plase?" 

An' all held their breath in the silence 
of dhread, 

An' Shamus O'Brien made answer and 
said: 

"My lord, if you ask me, if in my life- 
time 

I thought any treason, or did any 
crime 



That should call to my cheek, as I 
stand alone here, 

The hot blush of shame, or the cold- 
ness of fear, 

Though I stood by the grave to re- 
ceive my death-blow, 

Before God and the world I would an- 
swer you, no! 

But if you would ask me, as I think it 
like, 

If in the rebellion I carried a pike, 

An' fought for ould Ireland from the 
first to the close, 

An' shed the heart's blood of her bit- 
terest foes, 

I answer you, yes; an' I tell you again, 

Though I stand here to perish, it's my 
glory that then 

In her cause I was willing my veins 
should run dhry, 

An' that now for her sake I am ready 
to die." 

Then the silence was great, an' the 

jury smiled bright, 
An' the judge wasn't sorry the job 

was made light; 
By my sowl. it's himself was the crab- 
bed ould chap! 
In a twinklin' he pulled on his ugly 

black cap. 
Then Shamus' mother in the crowd 

standin' by 
Called out to the judge with a pitiful 

cry: 
"O judge! darlin', don't, oh, don't say 

the word! 
The crathur is young, have mercy, my 

lord; 
He was foolish, he didn't know what 

he was doin'; 
You don't know him, my lord, — oh, 

don't give him to ruin! 
He's the kindliest crathur, the tend- 

herest-hearted; 
Don't part us forever, we that's so 

long parted. 
Judge, mavourheen, forgive him; for- 
give him, my lord, 
An' God will forgive you — oh, don't 

say the word!" 
That was the first minute that O'Brien 

was shaken, 
When he saw that he was not quite 

forgot or forsaken; 
An' down his pale cheeks, at the word 

of his mother, 
The big tears wor runnin' fast, one 

afther th' other; 
An' two or three times he endeavored 

to spake, 
But the sthrong, manly voice used to 

falther and break; 
But at last, by the strength of his 

high-mounting pride, 
He conquered and masthered his 

grief's swelling tide, 
"An'," says he, "mother, darlin', don't 

break your poor heart, 
For' sooner or later the dearest must 

part; 
An' God knows it's betther than wan- 

derin' in fear 
On the bleak, trackless mountain, 

among the wild deer, 
To lie in the grave, where the head, 

heart, and breast, 
From thought, labor, and sorrow for- 
ever shall rest. 
Then, mother, my darlin', don't cry 

any more, 
Don't make me seem broken in this, 

my last hour; 
For I wish, when my head's lyin' un- 

dher the raven, 
No thrue man can say that I died like 

a craven!" 
Then towards the judge Shamus bent 

down his head, 
An' that minute the solemn death-sen- 
tence was said. 

The mornin' was bright, an' the mists 

rose on high, 
An' the lark whistled merrily in the 

clear sky; 
But why are the men standin' idle so 

late? 
An' why do the crowds gather fast in 

the street? 
What come they to talk of? what 

come they to see? 
An' why does the long rope hang 

from the cross-tree? 



O Shamus O'Brien! pray fervent and 

fast, 
May the saints take your soul, for this 

day is your last; 
Pray fast an' pray sthrong, for the 

moment is nigh 
When, sthrong, proud, an' great as you 

are, you must die. 
An' fasther an' fasther the crowd gath- 
ered there, 
Boys, horses, and gingerbread, just 

like a fair; 
An' whiskey was sellin', an' cussamuck 

too, 
An' ould men and young women en- 

joyin' the view. 
An' ould Tim Mulvany, he med the 

remark, 
There wasn't sich a sight since the 

time of Noah's ark, 
An' be gorry, 't was thrue for him, for 

divil sich a scruge, 
Sich divarshin' and crowds, was known 

since the deluge, 
For thousands were gathered there, if 

there was one, 
Waitin' till such time as the hangin'd 

come on. 

At last they threw open the big prison 

t gate, 
An' out came the sheriffs and sodgers 

in state, 
An' a cart in the middle, an' Shamus 

was in it, 
Not paler, but prouder than ever, that 

minute. 
An' as soon as the people saw Shamus 

O'Brien, 
Wid prayin' an' blessin', an' all the 

girls cryin', 
A wild wailin' sound kem on by de- 
grees, 
Like the sound of the lonesome wind 

blowin' through trees. 
On, on to the gallows the sheriffs are 

gone, 
An' the cart an' the sodgers go stead- 
ily on; 
An' at every side swellin' around of 

the cart, 
A wild, sorrowful sound, that ud open 

your heart. 
Now under the gallows the cart takes 

its stand, 
An' the hangman gets up with the 

rope in his hand; 
An' the priest, havin' blest him, goes 

down on the ground, 
An' Shamus O'Brien throws one last 

look around. 
Then the hangman dhrew near, an' 

the people grew still, 
Young faces turned sickly, and warm 

hearts turned chill; 
An' the rope bein' ready, his neck was 

made bare, 
For the gripe iv the life-strangling 

cord to prepare; 
An' the good priest has left him, hav- 
in' said his last prayer, 
But the -good priest done more, for 

his hands he unbound, 
And with one daring spring Jim has 

leaped on the ground; 
Bang! bang! goes the carbines, and 

clash goes the sabres; 
He's not down! he's alive still! now 

stand to him, neighbors ! 
Through the smoke and the horses 

he's into the crowd, — 
By the heavens, he's free! — than thun- 
der more loud, 
By one shout from the people the 

heavens were shaken, — 
One shout that the dead of the world 

might awaken. 
The sodgers ran this way, the sheriffs 

ran that, 
An' father Malone lost his new Sun- 
day hat: 
To-night he'll be sleepin' in Aherloe 

Glin, 
An' the divil's in the dice if you catch 

him ag'in. 
Your swords they may glitter, your 

carbines go bang! 
But if you want hangin', it's yourself 

you must hang. 

He has mounted his horse, and soon 

he will be 
In America, darlint, the land of the 

free. 



^^ 



SHAMUS O'BRIEN 



Copyright 1912 by Imp Film* Company 



ffV 



Scene from the Imp Film of SHAMUS O'BRIEN, 

founded upon the famous poem by Samuel 

Lover. An Irish Imp of immense 

humor and pathos. 



3-14-12 



IMP FILMS COMPANY 

102 West 101st Street, New York Carl Laemmle, Pre*. 



l!BBE£ imps 

> EVERY WEEIC 



THE "IMPLET" 



WHERE PATHS MEET 

STORY FOUNDED ON THE GREAT IMP DRAMA RELEASE 

MONDAY, APRIL 1st, 1912 



By Thomas Bedding 



I. 



That sweet little Alice Ward should 
revolt at her domestic surroundings 
was only natural. She was mother- 
less, and she worked hard at the glove 
counter in Rippingill's Dry Goods 
Store to make sufficient money to 
keep things going in her unattractive 
home. 




Alice at the Counter 

The other members of the family 
consisted of her father, whose occupa- 
tion was mostly that of a drunkard, 
and a small, suffering brother, who 
was entirely a school boy. 

Still, the outlook was not altogether 
hopeless for Alice. James Bright loved 
her. He was a hard-working fellow — 
a carpenter by trade. Matters be- 
tween him and Alice had reached 
that stage when he felt he could safe- 
ly buy the wedding ring. 

Of course, the girl (being pretty) 
had other admirers. 

There was a particularly ardent one 
who found his greatest attraction at 
the ribbon counter when Alice was 
behind it. He could talk more glibly 
than James could. He talked so glibly 
that Alice fell for his invitation to 
take dinner with him one evening 
at Guzzanti's Cafe. 

The girl felt that Guzzanti's would, 
at any rate, be a change and offer 
some little variety from the drab dull- 
ness of the subterranean apartment 
which she shared with her dissolute 
father and unfortunate brother. 

II. 

When James Bright called to show 
his bride-to-be the ring, old Reuben 
Ward could think of nothing more fit- 
ting to celebrate the occasion than a 
spell of drinking. Against Alice's 
secret advice James joined him in 
the bout. 

Then The Tempter saw his oppor- 
tunity. 

Looking up at the window Alice 
spied a smart automobile stopping out- 
side her home. While the backs of 
the two men were turned she impul- 
sively slipped out. Before she could 
realize it she was whisked away for 
an evening's freedom at Guzzanti's. 




The First Step 



James Bright hastily followed. He 
was too late. 

The girl's temporary escape from 
the horrible atmosphere in which she 
had hitherto had to move and breathe 
was destined to be only the beginning 
of worse things to follow. 

III. 

Of course, the glitter and glow of 
Guzzanti's dazzled Alice. A seventy- 
five cent table d'hote dinner was a 
banquet indeed to one who seldom 
soared beyond rolls and coffee or the 
cheap delights of the nearest delicates- 
sen. 

The music was a novel pleasure. 
It was not only novel: it was exhilar- 
ating. 

For the first time in her life she 
drank just one-half glass of sweet 
champagne, which acted as a mild opi- 
ate upon her agitated nerves. Her 
eyes sparkled. She felt the glow of 
pleasure, the joy of living and the 
boundless sense of a new freedom. 

The world appeared brighter, the 
people in it handsomer and more pic- 
turesque. The luxurious possibilities 
of existence were more real than they 
had seemed in the subterranean tank, 
that now looked so very, very far off 
as she sat at the table with her hos- 
pitable and velvet-voiced admirer. 

IV. 

After some days Alice began to 
wonder what her degraded father 
looked like. She had practically 
forgotten him and her ragged lit- 
tle brother. She lived in a per- 
fumed atmosphere. An auto ride, a 
cabaret dinner, lots of friends and 
some money — all this in an interval of 
two or three weeks had converted 
her from a pretty and guileless shop- 
girl into a smart woman of the world. 
She was a queen on a throne. She 
was a different kind of being to the 
one who formerly worked behind a 
glove counter. 

Now she lived, where once she had 
subsisted. 

She was a social triumph in her 
sphere! 

Or thought she was, until one fine 
evening her admirer went back to an 
old flame, and a less inoffensive sub- 
stitute offered to take his place in 
Alice's scheme of things. 




Deserted 

Then the girl realized the cold, hard 
truth. 

She had thrown up home, such as it 
was; position, such as it was; and her 
lover, such as he was, for a few weeks 
of restaurant life and its inevitable 
aftermath! 

She had no money. 

She was ashamed to go home. 

There was only one way of getting 
money and a home now. The only 
tvay! 



V. 



It does not take a girl — or, for that 
matter, a man (particularly a young 
man) — very long to go to the devil by 
the alcohol route, not to mention 
other routes, particularly if he, or 
she, is by nature easily led and not 
trained to resist temptation. 

Alice Ward was a weakling. 

She was the daughter of weakling 
parents. 

The taint of weakness mixed with 
the corpuscles of her blood. 




Alone 

It would have been an absolute mir- 
acle if she had gone back home be- 
fore she had got to that stage of de- 
spair which drives a thoughtless girl 
to crime to satisfy her craving for 
stimulants. 

Thus the child (for she was noth- 
ing more) found herself one day in a 
low saloon, craving for a little brandy 
and unable to pay for it. When her 
empty purse was revealed she was 
scorned. Then insult was offered her 
by a brutish fellow who was of her 
company in the saloon. 

But defense was at hand from an 
unexpected quarter. 

As it often happens, poor James 
Bright, in his disappointment at the 
loss of the girl he loved, had gone 
the same way as she had chosen. 

He tried to drown his sorrow in 
brain-destroying drink. He had lost 
his position and had fallen low enough 
in all conscience. 

Still he retained the instincts of a 
man. 




A Defender 

When he saw the ruffian attempting 
to insult a defenseless girl in the sa- 
loon he interfered. 

There was a scuffle and a terrible 
tumult. 

In the end James Bright realized 
that the girl he was defending from 
insult was his poor little lost Alice! 

Their paths had met! 

VI. 

Outside, in the quiet of the street, 
away from the reek of the horrible 
saloon, James Bright, still a strong, 
sturdy, if unsteadied man, grasped the 
trembling Alice by the wrists. 

"Why did you do this?" he de- 
manded. "Why did you run away? 
Where have you been? What have 
you been doing? Tell me?" 



And she told him. 

Told him all. 

Told him that although she had lis- 
tened to the invitation of her chance 
admirer in the dry goods store she 
never would have accepted it; she 
never could have accepted it, if he, 
her affianced husband, had resisted the 
temptation of drink which her father 
set before him. 

Had she not warned him? 

Had she not begged him never to 
touch the stuff? 

Was not the sight of her father 
enough to deter him from going the 
same way? 

Sudden disgust at him, as well as 
her father, had overcome her. The 
sight of the auto with the clean, 
spruce gentlemanly man in it was too 
much for her. Was it to be wondered 
at that she ran away from the two 
men whom she should most respect, 
and who she found not worthy of re- 
spect? 

"Answer me!" she said. "What 
other girl do you think would have 
been stronger than I was?" 

"Answer me, Jim?" 

Jim hung his head and could not 
answer. 

VII. 

An hour later James Bright and 
Alice Ward stood in the humble home 
that both had left a few weeks be- 
fore. 

Reuben Ward had been suffering in 
the meanwhile. 

Conscience had told him that the 
responsibility for the loss of his 
daughter and prospective son-in-law 
was his. 

When the two wrecks — the still 
youthful wrecks — of what only a few 
weeks before looked so fair and bright 
suddenly appeared in the deserted 
kitchen he was prepared for what was 
to come. 

After all, James Bright was a man. 

He loved the girl whom he had lost 
for awhile: loved her still. 




When he and old Reuben Ward had 
pledged themselves never again to 
taste alcohol in any shape or form 
James was as proud as ever of the 
girl he had rescued. After he placed 
the ring on her finger she promised 
to be a good and true wife to him. 

And James Bright believed her. 



"BETTER THAN GOLD." 
Number Two of the Imp Films 
stories, which with illustrations will 
appear next week in Implet No. 0, is 
entitled "Better than Gold." "Better 
than Gold" is the Thursday release of 
March 21st, and forms one of the Cal- 
ifornian pictures of the Imp Films 
Company. 




• * • 




PERCY LEARNS TO WALTZ 



Copyright 1912 by ImttFilmt Company 



M 






V 





A highly diverting comedy showing the mishaps 
which befall a new devotee of the dance. 



On the same reel: DARING CAVALRY TACTICS 

An exciting study in military horsemanship 



3-16-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



THE "IMPLET" 






-^e-'T- ^v 







Exhibitors, Wake Up! 

(./>j/ C^r/ Laemmle) 

Do you know that you have the power to 

make or unmake any man or any set of men in the moving 

picture business? Do you know that before any exchange or any film manufac- 
turer inaugurates any change of policy he first asks himself and his associates, 
4 What will the exhibitors think about it? What will the exhibitors do! Will it 
make the exhibitors sore?' Always, always and always, "the exhibitor." That 
means you! You are the power that has to be reckoned with every time and 
all the time. 

You are a giant asleep. You are unconscious of your 

power. And there are men who tread lightly for fear of waking you up! What 
do they fear? Simply that upon realizing what a power you possess you will exert 
it and assert your rights. That's the milk in the cocoanut. The very fact that 
this is so is proof enough that you are not getting all you are entitled to. And 
for five or six years I have made enemies for myself in my efforts to wake you up. 
In doing so I have at least gained your confidence. And I've told you a dozen 
times, quite frankly, that I intended to gain your confidence by earning it. 
Consequently, you've got to believe what I tell you, for I pledge you to stick to 
the truth, now and hereafter, as in the past. 

One of the things you are entitled to (and which hundreds 

of you are not getting) is three Imps a week — not now and then, but every week. 
Is there any reason on God's green earth why you shouldn't get them? Are any 

films better? If you are not paying a respectable price for your Ifilm rental, why 

not pay more and get three Imps every week? If you are paying a good price now, why not demand 
what you are paying for? You think you are at the mercy of your exchange. As a matter of fact, 
if you only knew it and realized your power, every exchange (including my own) is at your mercy. From you they 
derive their support, their living, their very bread and butter. Concerted action on your part will bring you three Imps a 
week. No exchange can resist if you get up your gumption and insist. Begin right now to use your power. And 
watch for my plain-spoken arguments in this column from week to week. No man who follows my earnest and 
sincere advice ever came out the little end of the horn. Remember that! 

(Next week's i?istallme?it: "Picture Politics" ) 




Mi 




THE DUPER AND HIS DOOM 

"THE IMPLET" Will Suppress Duping 



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"Any person who wilfully and for profit shall 
infringe any copyright secured by this Act, or 
who shall knowingly and wilfully aid or abet 
such infringement, shall be deemed guilty of 
a misdemeanor, and upon conviction thereof 
shall be punished by imprisonment for not ex- 
ceeding one year or by a fine of not less than 
one hundred dollars nor more than one thou- 
sand dollars, or both, in the discretion of the 
court." — U. S. Copyright Law. 

Last week we replied to a correspondent who 
asked if Imp Films were duped. We replied that 
we believed they were, and that we would be glad 
to have information bearing on the actual facts. 

By an extraordinary coincidence, while we were 
answering our correspondent, a representative of 
the Imp Films Company was in Philadelphia on 
other business, when he made the discovery that 
in the City of Brotherly Love, Imp Films were, 
and probably are, being duped in the most bare- 
faced and outrageous manner. 

This is not the first time in the history of the 
moving picture that Philadelphia has earned the 
shady reputation of being the metropolis of dup- 
ing. Not only is the Imp Films Company suf- 
fering from this nefarious practice, but also other 
companies on the Independent Side of the busi- 
ness. Now, we wish to give the Philadelphia dup- 
ers warning that we shall proceed with the ut- 
most rigor of the law against them if, and when, 
we catch them. 

The heading of this article is an extract from 
the United States Copyright Law, which, it will 
be seen, bears clearly and directly on this duping 
question. This law gives the film maker pro- 
tection in his scenarios, and in his pictures. It 
affords the film maker, parri passu, as much 
protection as the theatrical manager. If you 
copy a play you are liable to be proceeded 
against either criminally or civilly. 

Hitherto the film duper has been let off with a 
fine. After paying his fine he has gone about 
his business of duping in the same old way. 
Now, we shall get after these pirates and dupers 
criminally, and we shall endeavor to have them 
jailed for the maximum period of one year. 

The business of successfully making and selling 
motion pictures is hard enough in all conscience 
without having it handicapped by the duping and 



surreptitious sale of copies. In Philadelphia 
alone our films are duped to such an extent that 
the Imp Films Company suffers a loss conserva- 
tively computed at thousands of dollars a year. 
Chicago is another film duping centre. 

It is not easy to bring these pirates to justice, 
hut we mean to do our part in going after them. 

_ There is another aspect of the case that we de- 
sire to impress upon all concerned. It is this : 
that the exhibition of a duped copyrighted mov- 
ing picture film renders the exhibitor liable to 
prosecution. The section above quoted says: 
"Anyone who shall handle and willingly aid and 
abet such infringement," may be punished. 

Hence it is. that while in duping the actual 
duplicator is liable to prosecution, so also is the 
man who exhibits the duped pictures. 

At this moment in Philadelphia and other cities 
besides the actual dupers, who are liable under 
Section No. 28 of the Copyright Law above 
quoted, there are probably, nay certainly, scores 
of exhibitors who are innocently breaking the 
law and rendering themselves liable to imprison- 
ment, or a heavy fine. 

As we stated last week, this paper is the friend 
of the exhibitor. We have his interest at heart, 
and in his interest we warn him — we warn the 
exhibitor not only in Philadelphia, Pa., but all 
over the country — to be careful to ascertain that 
he is hiring original prints from a duly accred- 
ited source, so that he may escape punishment 
for either wittingly or unwittingly transgressing 
the law. 

Several of the Independent Manufacturers are 
joining us in our endeavor to stamp out the 
duping pest from the business. We have no 
authority for saying so, but we believe that, if 
evidence of duping be placed before the Sales 
Company, that Company in its turn will aid in 
eradicating this blot from the business. 

Finally, we repeat, duping is both a criminal 
and a civil offense. It is harmful to the busi- 
ness, harmful to the quality of the picture, to the 
interests of manufacturers and to those of the 
exhibitors. A duped picture disgusts the public. 
Therefore, in the general interest the duper must 
be wiped out. 

Philadelphia, The Implet has its eye upon you! 










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THE "IMPLET' 



Jf 



Qftt "Smplet 

The Moving Picture Newspaper 

Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 



Published at 102 W. 101»t St., New York 



SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY, 5 CENTS 

"THE BABY." 



A Novel Imp Release. 

There is only one blessed, beautiful 
baby in this world, and every mother 
has it. The result is the baby, every- 
body's baby, anybody's baby, is al- 
ways "it" in any assembly. 

Of course, to be serious, the baby 
is the unit of civilization, and as, 
according to Pope, the English poet, 
the proper study of mankind is man, 
it necessarily follows that the study of 
mankind should commence with in- 
nocent, helpless infantility. 

What do you know about "infantil- 
ity"? Classy word, eh? 

This film will interest every woman 
who goes to a moving picture show. 
As we computed in No. 2 of The Im- 
plet, the attendance at moving picture 
houses reaches many millions a week, 
so it follows that many millions of 
women will see the play. 

But this is not enough for us. We 
would like every woman in the world 
to see this picture . All of her. 

Why? Because it teaches her how 
to handle a baby in a common-sense 
manner as regards its scientific cleans- 
ing and clothing. It shows the value 
of a thermometer for testing the heat 
of the water and many other interest- 
ing points. 

Aside from that it's a pretty picture. 
A pretty nurse does the work. There 
is a very cute baby, and then the 
young couple are represented by 
Harry Pollard and Margarita Fischer 
in propria persona. 

And you all know how handsome 
Harry is, and how lovely is Margarita. 

Get "The Baby" — the Imp "Baby." 
And get three a week — three Imps, of 
course. 



CASTS OF THE IMP PLAYS. 

"The Man from the West." 

(Imp Drama. Release, Monday, March 

18, 1912.) 
Written by J. W. Culbertson, Indian- 
apolis, Ind. 
Produced by Otis Turner. 

Stephen Jackson King Baggot 

Harry West W. E. Shay 

Mr. Glenn Mr. Balfour 

Mrs. Glenn Miss Krause 

Elsie Glenn Violet Horner 

Mary Vivian Prescott 

"Better Than Gold." 

(Imp Drama. Release, Thursday, March 

21, 1912.) 

Written by Robt. Broderick, New York. 

Produced by F. J. Grandon. 

Parson Jim Harry Pollard 

Denver Jennie Margarita Fischer 

Flash Dick Ed. Lyons 

Janette 

"The Tankville Constable." 

(Imp Comedy. Release, Saturday, 

March 23, 1912.) 

Written by Owen Rhodes, Tropico, Cal. 

Produced by F. J. Grandon. 

Eben Green Ed. Lyons 

Jonas J. Bluff Harry Pollard 



UNIVERSAL APPRECIATION FOR THE "IMPLET" AND THE "IMPS" 

26, 1912. 



Barrie, Can., Feb. 
To the Editor. 

Sir: I was under the impression un- 
til lately that it was impossible to 
run my show without licensed pic- 
tures. Seven months ago I went In- 
dependent, and have not had a li- 
censed picture in my theatre since. 
I have my exchangeman send me all 
the Imps he can possibly send. 

Why not have Cumpson put on 
some of his screams? "Jones at the 
Base," etc. I have followed him from 
Biograph to Edison, and now he is 
with Imps. He certainly is a good 
asset. 

Success to Imps and Independent. 
Yours very truly, 

C. H. BEATTY, 
Manager, Dreamland. 



March 2, 1912. 
To the Editor. 

Sir: Allow me to acknowledge the 
receipt of the photos, and I desire to 
say that they are fine. They are as 
good as your productions, so keep up 
the good work. 

Yours truly, 
JOHN J. PATTERSON, Jr. 



March 2, 1912. 
To the Editor. 

Sir: I have had very little sym- 
pathy with the general run of pub- 
lications devoted to the motion pic- 
ture business, for the latter is now in 
such a deplorable state as to arouse 
the just ire of all decent people. Of 
course, there are many high-minded 
firms who believe in the maintenance 
of a high-class policy in giving the 
public exhibitions that are in every 
way praiseworthy. I will watch the 
policy of your paper and will be able 
to speak more definitely later on. It 
seems to me that there is a place for 
a publication such as yours, which 
is devoted to the very best and high- 
est interests of this new educational 
science — kinematography. Complaints 
are coming in to the superintendents 
of public schools, the clergy and also 
the police, imploring their aid in stop- 
ping the many objectionable exhibi- 
tions by means of motion pictures. 
This is true not only in eastern com- 
munities, but is gradually extending 
to the far and distant west, and other 
parts of the hemisphere, but I sup- 
pose you are taking note of this move- 
ment. 

Wishing you the utmost success, I 
remain, Very truly yours, 

W. A. FRENCH, 
Editor Photo-Era. 

383 Boylston St., Boston, Mass. 

[The object of "The Implet" is to 
uplift the motion-picture business in 
all its phases. — Editor.] 



1912. 



for the 
I have 



February 24, 
To the Editor. 

Sir: I beg to thank you 
copy of The Implet which 
received. I offer my congratulations 
and compliment you upon such an ex- 
cellent publication. Its contents are 
more than interesting: they are in- 
valuable to every exhibitor. I am 
taking advantage of your request to 
offer my suggestion, as to the posters 
for the Imp Split. I should certainly 
issue two posters for two pertinent 
reasons, a better lobby display for the 
exhibitor and a better advertisement 
for the Imps; or, in other words, two 
posters, two subjects better than one. 



I cannot show too many Imps. I pur- 
pose having a photograph of my the- 
atre taken and will send you one 
when I get them. 

Wishing you all the success you 
could desire, I am, 

Yours truly, 

PERCY FISHER, 
Florence, S. C. The Mirror. 



February 26, 1912. 
To the Editor. 

Sir: Our audiences like the Imps; 
they are always pleased to see them. 
We received The Implet and saw 
the "Brickbats and Bouquets." Please 
send us that book. We are very much 
interested in The Implets and the 
Imp films. We use your films, and 
they bring the crowd; everybody likes 
them. King Baggot always plays his 
parts well. 

With three cheers for "King" and 
the Imps, I am, 

Yours truly. 

JOSEPH WILLIS. 
Moving Picture Theatre, Hahovvell, Me. 



February 26, 1912. 
To the Editor. 

Sir: In spite of the strike riots Imp 
Films are still doing business. In 
regard to posters for Imp splits, "sure 
thing" give us posters on every sub- 
ject. Also send me a copy of "Brick- 
bats and Bouquets." In regard to 
picture of theatre, will see about it 
in the near future. Wishing much 
success to King Baggot, W. R. Daly, 
William Shay and the company, not 
forgetting the ladies. I am, 
Yours for Imps, 

C. P. SAUNDERS. 
Pastime Theatre. Lawrence, Mass. 



February 26, 1912. 
To the Editor. 

Sir: Enclosed you will find a photo- 
graph of the Model Theatre, where all 
the Imps are shown, both new and 
old Fverybody likes the Imps. I 
don't know what I would do if I 
could not get at least one every day. 
Keep up the good work, and we will 
soon have them all on the go. 
Yours truly, 

JOSEPH WOPATA. 
Model Theatre, Chicago, 111. 



February 24. 1912. 
To the Editor. 

Sir: Please send me a copy of 
"Brickbats and Bouquets." I see by 
The Implets I received to-day you 
are mailing it to anyone writing for 
it. 1 am strongly in favor of three 
Imps a week, but I do not always get 
them. However, \ am thankful for as 
many as I do get. 

Wishing The Implet all the success 
in the world, I remain, 
Yours truly, 

\. L. SWANSON. 
Gala Theatre, Wilton; N. Dak. 



.Mich. 



Lansin^ 
The Imp Films Company, 
New York, N. Y. 

Gentlemen: Received our Implet 
to-day. and after reading the editorial 
on the first page I am prompted to 
ask if it's modesty that causes the 
statement. "The quality of the Inde- 
pendent pictures in many instances is 
the equal in quality of the best 'li- 
censed' pictures." 

If it were not for the leading 
actresses and actors in the licensed 



CALENDAR OF IMP RELEASE DATES 



Monday, March 18 — The Man from the West, 



Drama 



Thursday, March 21 — Better Than Gold, 



Drama 



Saturday, March 23- 



-Countess Thamara De Swirsky in Classic Russian Dances, and The Tankville 

Constable, Comedy 



Monday, March 25 — The Romance of an Old Maid, 



Drama 



Thursday, March 28 — Tempted, but True, 



Drama 



Saturday, March 30 — Squnk City Fire Company (Comedy), The Baby, 



Educational 



Monday, April 1 — Where Paths Meet, 



Drama 



pictures many of them would be abso- 
lute failures. This is not the case 
with the Independents, especially the 
Imp. Take, for example, "The Worth 
of a Man," in which there was prac- 
tically a new cast of characters, and 
I'll venture the assertion that no pic- 
ture of its kind (Licensed or Indepen- 
dent) ever received any more favor- 
able comment. 

To-day we are showing "The Lie," 
and I am sure could you hear the 
praise this picture is receiving you 
would in your next issue make this 
statement: "The Independent pictures 
are the best." One of the proprietors 
of a large department store across 
the street from our theatre told me 
that whenever he saw the sign, "This 
Is an Imp Day," if possible, always 
came «to see the show, for he consid- 
ered the Imp best of all, and did not 
wish to miss any of them. 

Keep up the good work and, above 
all things, keep us on your mailing 
list. With best wishes, I remain, 
Yours very truly. 

(Signed), H. F. TOWSER. 

The Vaudette. 



Thursday, April 4 — The Dove and the Serpent, 



Drama 



Saturday, April 6 — The Chef's Downfall,. A Change of Stripes. 



Comedy 



February 27, 1912. 
To the Editor. 

Sir: Just received the copies of The 
Implet which you kindly sent me on 
request, but I am sorry to say num- 
bers one and four are missing. No 
doubt an unavoidable mistake. If you 
will kindly forward those two num- 
bers I would be extremely grateful, as 
I intend having them bound. It is 
such a line publication. It is more 
interesting to know the synopsis of a 
picture before seeing it on the screen. 

Thanking you for past favors, I beg 
to remain, 

K. C. RICHARDS. 

Philadelphia, Pa. 



February 23, 1912. 
To the Editor: 

Sir. — Thank you very much for 
"The Implet"; it's classy — in a class 
by itself, it seems as though we are 
old friends, talking to each other, so 
to speak. 

We used to run Trust films, but we 
have had to enlarge since we began 
to use Imp films. Why don't you peo- 
ple make your trade-mark bigger, so 
that people can see that we have an 
"Imp" for to-day, etc.? Some of our 
patrons only come when there is an 
Imp. 

I wish you would put out more 
two-reel pictures, or three-reel pic- 
tures, make a whole show with Imps. 

Our patrons like to see "King" in 
the films. 

Very truly, 

C. H. MARTIN, 
Star Theatre, Donora, Pa. 



Feb. 24, 1912. 
To the Editor: 

Sir. — Don't you think it is about 
lime we got more than three Imps a 
week? I patiently wait for Imp days 
and when they do come around my 
face has a smile reaching over all my 
body. I want everybody to know 
how happy I am then. Your Implet 
is great, and especially the pictures 
of the actors and actresses are excel- 
lent. You have got some editor, I 
must say. Glad to see Vivian Pres- 
cott amongst you. Wish you would 
get more like her. Send me "Brick- 
bats and Bouquets," and oblige, 
Very truly yours, 
HARRY A. SAMWICH. 
Surprise Theatre, Brooklyn, N. Y. 



February 26, 1912. 
To the Editor: 

Sir. — I received the first copy of 
your Implet some two days ago. I 
just wish to say what I think of it. 
It is splendid. Just like the Imps. I 
think the idea of having a question 
and answer column is capital. 1 in- 
tend to send you a photo of my thea- 
tre soon. All my patrons like the 
Imp films, and I do not blame them. 
Yours truly, 
H. M U" I'MKKSi IN. 
King Geor.yc Theatre, 

Amherst, N. S., Canada. 



STS 




THE MAN FROM THE WEST 



Copyright 1912 by Imp Films Company 






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The story of a rich Westerner who prefers to marry a 
pretty and domesticated cook rather than a con- 
ventional society woman. 



3-18-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



>fHREB imps 



2^BE§ imps 
'EVERY WEEIC 



THE "IMPLET" 



BETTER THAN GOLD 

Story Founded on the Great Imp Drama Release, Thursday March 21st. 

By Thomas Bedding. 



Denver Jennie was game; as game 
as they make 'em. A game woman 
beats a game man out of sight — espe- 
cially where the safety and welfare 
of her child are concerned. 

The man is not born who has ade- 
quately sized up the lengths to which 
a woman will go in behalf of her off- 
spring. The maternal instinct is one 
of those complex problems not to be 
solved by man. 

If you ask a woman what she would 
do for her child, she probably could 
not tell you in detail. She would 
evade you. She would most likely say, 
"All I could," or "Everything 1 
dared." 

Denver Jennie was one of this kind. 

She was not a clever woman. She 
was not an intellectual one. The 
"ologies" and "isms" of civilization 
had passed her by. 

She was a bright, breezy, devil-may- 
care girl, who would do anything in 
reason for her "man," and everything 
out of reason for their child. 

Her man's luck at the camp had 
not been good. There was a baby 
girl. They lived in Parson Jim's 
house, and they owed Parson Jim 
money. 

II. 

Parson Jim was one of those self- 
contained men who went about his 
work in a self-contained manner. He 
kept himself to himself. He wore a 
collar of a Roman cut, and having a 
somewhat ecclesiastical appearance he 
was called "Parson Jim" round and 
about the camp. 

Parson Jim was an educated man, 
with the manners of a gentleman. 
Some said he was an Oxford Univer- 
sity graduate, who had drifted to Cali- 
fornia to forget his early faults or 
sorrows and was trying to retrieve his 
fortunes by placer mining. 

So Jim, in his quiet hunt for gold, 
lived alone, going straight home to 
his house each night; reading his 
books, saying his prayers, harming 
no one — living a clean-cut, simple life, 
God bless him! 

Good-natured? Yes, to a fault. Den- 
ver Jennie and her husband shared 
his home. Jennie looked after the 
baby. Flash Dick, her husband, shied 
at work; he loafed around, success- 
fully and furiously. 




The Cheat 

One night in a saloon Dick lost 
every cent he had. The boys de- 
tected him cheating. There would 
have been some shooting and a cer- 
tain death but Jennie broke in and 
separated the combatants. 

She saved her worthless husband. 

Now she had to save her child. 

III. 

Parson Jim was a frugal man; he 
neither drank nor smoked. 

Drinking and smoking are diver- 
sions, vices or comforts, whatever 



you like to call them, that an edu- 
cated man can easily do without. 

Jim found his solace in the "Confes- 
sions of St. Augustine" or "The Re- 
ligio Medici," or he would dip into 
Virgil, for he had not forgotten his 
classics. Or, again, he could enjoy 
George Meredith. A somewhat un- 
usual character was Parson Jim, for 
his immediate environment. 

Thus his mind supplied him with 
so much pleasure and enjoyment that 
he could dispense with mere exter- 
nals. In other words, Jim's outlook 
was a realization of the homely say- 
ing, "A contented mind is a continual 
feast." 

So whatever money Jim made at the 
mine was mostly saved. He always 
had a wad on hand. 

It was not kept in a bank, or even 
under lock and key. Denver Jennie 
knew where it was, and so did her 
husband. 

For Jennie told him where the 
money was when it was necessary 
that their empty exchequer should 
be replenished. 

IV. 

When Parson Jim got home one 
night all his money in sight had 
gone. 

Jennie had stolen it for her hus- 
band. 

And here the mother -love of the 
girl for her child shot uppermost in 
her mind. 

She knew, she saw in a flash, that 
Dick would soon get through with 
the money, and that the fate of her 
child would be left a dark and dis- 
mal uncertainty. 

She swiftly resolved to make it a 
certainty. 

"Dick," she said to the worthless 
rogue, "I'll take his money for you, 
but I must leave something in pay- 
ment. The kid '11 be better off in 
Jim's hands than in ours. No, no; 
don't stop me; I mean to do it. It's 
best for her. You know it. I'll go 
and work for her. and if you'll let 
me make the money I'll pay Jim back 
and send the kid to school when she 
is old enough." 

And Jennie sat down and wrote this 
letter: 

Parson Jim: Be good to her. You'll 
find she's better than gold. 

DENVER JENNIE. 

The loss of his money did not 
cause Jim the slightest worry. He 
had foreseen what was likely to hap- 
pen. Jennie had hinted to him more 
than once that she would like to leave 
her child in his keeping, and when 
he found that the baby was his he was 
right glad. 

V. 

Jim rushed off to the saloon, where 
all the boys were "chinning it" and 
playing cards. 

"They've gone, and the kid is 
mine," he said. 

The boys cried out with delight, 
for they loathed Dick for his cow- 
ardly ways. They liked Jennie for 
her pluck, though some of them were 
a little bit doubtful of her morals. 
Still the kid was Parson Jim's. 

"Let's go and see Jim's kid," they 
said. 

So off they trooped to Parson Jim's 
house and held a reception. The un- 
conscious infant was the center of 
a perfect storm of uncouth admira- 
tion. 

The nine days' wonder, of course, 
became commonplace in less than nine 
days. Dick and Jennie had discreetly 
vanished. Dick owed more money 
than he could pay, and there was a 
warrant out for him in a little burg- 
lary matter which made it prudent for 
him to be scarce for some time. 

As a matter of cold, hard fact Flash 
Dick drank himself to death in less 
than a year, and Denver Jennie did 
household work for a living, far, far 
from Parson Jim's home. 




"They've Left Me The Kid." 

VI. 
In six years Denver Jennie's baby 
had grown into a bright, curly-headed 
girl, the pet of the camp. Parson 
Jim taught her writing and figuring; 
the boys idolized her. But the time 
came when Jim realized that he would 
have to face the outstanding problem 
of his responsibility. 




"Better Than Gold." 

Little Janctte, was wonderfully 
bright and clever. She began to ask 
questions about her father and 
mother which Jim found it difficult to 
answer. 

"What was mother like?" she'd fre- 
quently want to know. 

Jim had not got a photograph of 
Denver Jennie, but he managed to ob- 
tain a picture of a comely young wo- 
man whom he represented as the 
child's mother. 

And Janette was satisfied. 

Still, the education problem loomed 
up largely in Jim's mind. He finally 
solved it in what appeared to him the 
best and kindest way. He placed the 
child in a Catholic convent. 

He and "the boys" were sorry to 
lose her, but the best thing was done 
in the girl's interest. When the good 
Sister came to take her away they 
turned out to a man and loaded the 
child with gifts that sustained her at 
school for many a long day. 

VII. 

"Dear, Dear Daddy Jim: — 

"A few more days and I will have 
finished my term in school. Oh, how 
glad I will be to get home to you 
and the 'boys.' Give them all my 
love, and save a whole lot for your- 
self. Lovingly, 

"JANETTE." 

Years had passed since Jim had seen 
the girl, He had given orders that 
she was to be kept in the convent un- 



til she was of an age to understand 
what he knew it was his duty to tell 
her. 

That day and its duty were near. 

The girl imagined Jim to be her 
father. He had never undeceived her. 
The Sisters of the convent had kept 
the secret. She was now emerging 
from girlhood to womanhood, and 
she had to learn the truth. 

The truth came in an unexpected 
way. One day there staggered into 
Jim's home a gaunt and pallid wo- 
man, who had something on her mind. 
For years and years Denver Jennie 
had toiled to save up the money that 
she had taken from Parson Jim. 

She returned with the money, but 
she had made it at the cost of her 
life. 

For when she confronted Jim with 
the tale of her husband's death and 
her robbery, she was beyond human 
aid. And when she had confessed all 
to Parson Jim, it was her last act 
of atonement. 

She died in Jim's house and almost 
in his arms. 

VIII. 

The girl arrived. The entire camp 
turned out — or, what was left of the 
camp. Some of it had died, or gone 
broke, or disappeared. Anyway, what 
was left of it turned out to greet the 
beautiful and queenly girl who was 
redelivered to Parson Jim from the 
Catholic convent of Santa Catalina. 

When Janette reached the well-re- 
membered room, one of the first 
things she saw on the table was the 
little dolly that she had played with 
years before. Her "transports of joy 
were beyond description. 




"Your Mother Is Dead." 

She was home! Home again with 
Parson Jim! 

Home again to learn the truth 
about her mother which Jim told her 
with all the tenderness and reserve of 
his noble nature! 

IX. 

So they went to the grave, the gray- 
headed man and the budding young 
woman — to Denver Jennie's grave. 

Then Janette knew what her 
mother had done for her and what 
Parson Jim had done for her. 

Jim's money all these years had 
steadily accumulated until it was now 
a tidy sum. 

There was soon a vacant house in 
the camp. 

Some months later on, and far, Ear 
away from these scenes, when the 
grass was green upon the dead wo- 
man's grave, there was a wedding be- 
tween Parson Jim and the waif who 
had been given to him years and 
years ago as "Better than Gold." 



PI. 



BETTER THAN GOLD 



Copyright 1912 by ImD Filma Company 



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A young mother parts with her child to a stranger rather 
than have the little one grow up in want and misery. 
A touching story of maternal sacrifice. 



3-21-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



CtBBEg imps 
'EVERY WEEJC 



THE "IMPLET" 



THE AWFUL EFFECTS OF MOVING PICTURES 




; PICTURE 
I THEATRE 



£ 





FAMOUS FIGHT 
BETWEEN 

K\0 BIFFEM 

AND 
KID 50CUM 

TO-DAY OMt-Y • 

J 





FIRST 





SECOND 
R.OUNO 




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"A MILLIONAIRE FOR A DAY." 

We are busy on this picture. Don't 
worry! It will come in due course. 
It is to be all that we promised, and 
a great deal more. We are trying our 
hardest to condense a world of humor 
into 500 feet of film. By the way, 
reader, have you ever observed that 
Imp Films are Mip — that is, Imp dif- 
ferently arranged. Imp Films ARE 
Mip. Now, see here, all of you brainy 
fellows who read this paper; sit down 
and tell us what we mean by Mip. 
What does "Mip" mean applied to 
Imp Films? Mip is a well-known ab- 
breviation. We are not "joshing" over 
this. We are as serious as Mr. Roose- 
velt when he said he wouldn't accept 
a third-term nomination and made a 
mental reservation to grab the job if 
it came his way. 



"THE LOAN SHARK." 
A Startling Imp. 

The loan shark is the pest of every 
civilized community. He is a man 
who lends money to the poor; extorts 
ruinous rates of interest and spreads 
ruin wherever he goes. He sucks the 
life-blood of his victims. The law 
of the country or the state, seems 
powerless to limit the vulture-like 
proclivities of the loan shark. 

Recently the great newspapers of 
New York and other cities have 
drawn attention to the doings of this 
vampire of society. We shall shortly 
release a picture on this theme. The 
incidents in the picture will be por- 
trayed as far as possible from life; 
the Imp forces are all working to that 
end. "The Loan Shark" should be 
a great feature everywhere. We ex- 
pect it to be so powerful that it will 
influence state legislatures to enact 
suitable laws for the protection of 
poor people from the usurer who 
trades upon ignorance and fear. 

Don't miss "The Loan Shark." 



THE "GIMLET." (!!!) 

One of our correspondents ad- 
dresses us as The Gimlet. He means 
The Implet, of course. Still we are 
not angry at being called The Gimlet. 
We know we are sharp and get around 
things. We know that we can probe 
things, get through things, and at the 
I". i torn of things. 

That's what a gimlet does. 




Only 

50c. 

SET 







PS 




"A mi: 

We a 
worry! 
It is to 
a great 
hardest 
into 50< 
reader, 
Imp Fil 
ferently 
Mip. N 
fellows 
and tell 
What c 
Imp Fil 
breviatic 
this. W 
velt whi 
a third- 
mental 
it came 



The 1( 
civilized 
who len 
ruinous 
ruin wh( 
life-bloo 
of the 
powerle* 
proclivit 

Recen 
New Y 
drawn a 
vampire 
release i 
incidents 
trayed a 
the Imp 
end. '"] 
a great 
pect it t 
influence 
suitable 

poor pe_. . . _ M 

trades upon ignorance and fear 

Don't miss "The Loan Shark.' 




C&Arg&six^- 






IMP. 

January — 
20— Wish I Had a Girl (comedy) (split 

reel) 400 

22 — Building the Greatest Dam In the 

World (desc.) 1000 

26— The Worth of the Man (drama) 1000 

27— AH a Mistake (comedy) (split reel).. 000 
27 — A Day on a Buffalo Ranch (desc.). 

(spit reel) 400 

29— The Kid and the Sleuth (comedy) . .1000 
February — 
1 — The Power of Conscience (drama) . .11 
3 — O'Brien's Busy Day (comedy) (split 

reel) 800 

3 — Brown Moves In Town (comedy) (split 

reel) 600 

6 — The Helping Hand (drama) 1000 

8 — Mrs. Matthews, Dressmaker (drama). .1000 
10 — Who Wears Them (comedy) (split 

reel) 600 

10 — The Tea Industry In the United States 

(Industrial) (split reel) 400 

12— Reflections from the Firelight (drama) 1000 

16 — Through the Flames (drama) V 

17 — Pushmoblle Race In Savannah (com- 
edy) (split reel) 200 

17 — The Tables Turned (comedy) (split 

reel) ... 800 

19 — A Modern Highwayman (drama) 1000 

G2— The Lie (military drama) 1000 

24— Ice Boating on the Shrewsbury River 

N. J. (scenic (split reel) 400 

24 — The Broken Lease (comedy) (split reel) 600 
26 — The Immigrant's Violin (drama) .... 1000 

29— The Rose of California (drama) 100" 

Mnrch — Fe^t, 

2 — Beat at His Own Game (comedy) 

. (split reel) ,. 400 

2— The Right Clue (comedy) (split reel) 600 



Here Are Six 

of the very finest Imp 
films ever produced, 
yet the chances are 
you have never seen 
them ! Six big chances 
to make money gone 
to waste! Six great 
shows that your 
patrons have never 
seen. And all because 
your exchange is 
probably not buying 
Thursday Imps. How 
long are you going to 
stand for it? 






THE "GIMLET." (!!!) 

One of our correspondents ad- 
dresses us as The Gimlet. He means 
The Implet, of course. Still we are 
not angry at being called The Gimlet. 
We know we are sharp and get around 
things. We know that we can probe 
things, get through things, and at the 
bottom of things. 

That's what a gimlet does. 



in the blanks, enclose with the proper sum oi ^^ Unclosed tina $ tor" 

money to cover as many sets as you want ^^ which please send .... sets of 

at 50c. per set, write your name an d ^^ i , , 

address plainly and— mail at ^^ photos ot Imp stars as described in the 

once to the ^^ advertisement from which I cut this coupon. 

IMP FILMS CO. <T Yours truly, 

102 W. 101st ST. ^* y ' 

^ Name 

Address 




THE TANKVILLE CONSTABLE 




Copyright 1912 by Imp Film* Company 





At . . 

pebp Limit thru 

~rAlfKVILLE~ 

io NiLEE a how 




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4 






The inhabitants of Tankville revolt at the low speed limit 
locally enforced, which leads to an alteration of the law. 

on the same reel CLASSICAL DANCES BY COUNTESS de SWIRSKY 

3-23-12 



IMP FILMS COMPANY 

102 West 101st Street, New York Carl Lammml; Pre: 



£BBE£ imps 
' EVERY WEEIC* 



fWl 



THE "IMPLET" 




{By Carl Laemmle) 

In spite of the undisputed supremacy of Imp 

films, in spite of the fact that the sales of Imps are 

record-smashing, in spite of the fact that the Imp stands out in a class by 
itself, the fact remains that the Imp ought to be selling again as many reels per 
week as it is! It ought to be selling more copies of each reel than the Biograph 
or Vitagraph — but it is not! Why not? Lack of quality? No; Imp quality 
measures up with the best in the world. Lack of market ? No; there are about 
as many theatres using independent films as licensed. Lack of exchanges? No; 
I believe there are more independent exchanges than licensed. What then, is 
holding the sales? POLITICS! 

Yes, politics is the thing that keeps hundreds 

of you from getting three Imps every week. Politics 

and the fear in some quarters that "Laemmle will get too strong." Who fears 
that Laemmle will get too strong? Not you. You are not afraid of the man 
who has spent fortunes building up the independent cause and making it possible 
for you to get good independent films. Who, then, is afraid of "too much 
Laemmle?' You'll have to read between the lines to get the answer to that. 
But I'll say this: 

Your exchange ought to be buying three 

Imps a week. Is it? Can't you find out? If you can't, 

write to me, tell me the name of your exchange and you'll find out double 
quick. Offer to pay extra money to your exchange for three Imps a week if you 
can't get them any other way. It's a good investment. Others are doing it. 
They find it pays to be able to advertise three Imps a week. If this inducement 
won't cause your exchange to furnish you with three Imps every week, then it's 
time to try another exchange. If Imp films were not the best I could have no 
right to ask this of you. But the fact that they are the acknowledged best 
is reason enough why you should demand them— all three of them — every 
blessed week in the year. I've fought a winning fight for you. Now, what 
are you going to do for yourself — and for me? Are you going to demand 
three Imps a week or pursue the don't-give-a-dam policy? 

(Next week 's installment: " The Open Ma?~ket" ) 



2 




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•^ 



Much has been written and said this last 
two years on the subject of opening the film 
market in the United States. In other words, 
giving the exhibitor absolute choice of where 
to obtain his pictures. There have been sev- 
eral "movements" started in the business sup- 
plementary to existing distributing agencies. 

These "movements" have not succeeded be- 
cause they were not absolutely necessary. 
While people were talking and writing about 
these "movements," the exhibitor was slowly 
gaining in wisdom. He was beginning to 
realize his own importance in the business; he 
was beginning to shake himself loose from 
the shackles which had been imposed upon 
him in his ignorance. 

The exhibitor is the controlling factor in 
the film situation to-day. The exhibitor is in 
a position to pick and choose his own pictures. 

The exhibitor, therefore, has opened the 
market. 

The market being open, therefore, any new 
entrant into the business will find it a com- 
paratively easy matter to buy films of such a na- 
ture and quality as will satisfy his patrons, 
and he is not obliged to accept any particular 
program that is put before him. 

There is no agency whatsoever in the coun- 
try which has the right to insist that a mov- 
ing picture exhibitor shall, or shall not, sup- 
port a particular party or program in the film 
business. The exhibitor can choose feature 



ilms, as part of the independent program. He 
can, if he knows his business, lease pictures 
that are not regularly scheduled or advertised. 
The market, in fact, is so well supplied with 
good pictures that the ordinary exhibitor can 
satisfy his patrons without even showing films 
bearing the sacro-sanct names of "licensed" 
makers. 

We are writing this article by way of sup- 
plement to that printed on the back page of 
the present number of The Implet. 

We want every single exhibitor in the coun- 
try to realize that he is a powerful integral 
part of a great business. We have a fixed 
definite object in this advocacy. We want 
every exhibitor to assert his freedom, his in- 
dependence, to detach himself from any po- 
litical alliance except in so far as his mem- 
bership to his State Association is concerned. 

It is the exhibitor, individual and collective- 
ly, who must free the business from attempted 
domination or monopoly. 

Independence in this connection means 
something more than resisting encroachment, 
It means exercise of an individual choice in 
pictures in catering to the needs of the public. 

That is independence. 

We are not entirely altruistic in this. We 
feef we know, we are certain, that the spread 
of independence amongst exhibitors means a 
proportionately greater demand for [nip Films. 

And by demanding Imp Films, the exhibitor 
is manifesting his independence in the most 
effective and cogent manner. 









X-K'S 



h ':', 



"THE IMPLET" 

wishes 

The Motion Picture Exhibitor's League 

of Ohio 

a successful meeting at Dayton, O., 

March 26th - 27th 






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£Jk;&S&o I: :^ i-Jj.v (Wfe'^^-i^PlSf^lS 



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THE "IMPLET 



.» 



Qfyt "Smplet 

The Moving Picture Newspaper 

Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 



Published at 102 W. 101»t St., New York 



SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY, 5 CENTS 

PRES. NEFF WRITES TO THE 
IMPLET. 

Cincinnati, O., March 1, 1912. 

To the Editor. 

Sir: The Motion Picture Ex- 
hibitors' League of Ohio will meet 
at Dayton, Ohio, on the 26th and 
27th of March. The National Board 
of Directors of the Motion Picture 
Exhibitors' League of America will 
meet at the Phillips House, at Dayton, 
Ohio, at 8 p. m., on the evening of 
March 25th, and will be in attendance 
at the State meeting. The Chamber 
of Commerce of Dayton and the Na- 
tional Cash Register Company are co- 
operating with our local organization. 
I will send you a programme of what 
is going to take place later on; how- 
ever, will say that a motion picture 
will be taken, Kinemacolor and feat- 
ure pictures will be shown, big ban- 
quet, auto rides and a general good 
time and a real business session. We 
expect visiting members from all over 
the United States. 




As an organization we do not take 
sides with any manufacturer or film 
exchanges or renters of articles used 
in our business. The organization is 
for the purpose of uplifting the busi- 
ness, cementing the exhibitors to- 
gether in an organization in order 
that immoral or suggestive pictures 
shall be eliminated and to place our 
business before the people as it is — 
the greatest educational, moral ad- 
vance agent the world has ever 
known. We are organized for the 
purpose of becoming acquainted and 
to co-operate together to the end that 
justice and a square deal may prevail 
in our business, realizing that an in- 
jury to one is the concern of all. 

I have just returned from West 
Virginia, where I organized a State 
organization of the Motion Picture 
Exhibitors' League of America. The 
following are the officers elected: 
President, M. M. Wear, Charlestown, 
W. Va.; first vice-president, F. L. 
Harris, Parkersburg, W. Va.; second 
vice-president, L. C. Washburn, Sa- 
lem, W. Va.; secretary, R. L. Thomas, 
Moundsville, W. Va.; treasurer, P. W. 
Barett, Parkersburg, W. Va.; National 
vice-president, E. W. Waugh, Hunt- 
ington, W. Va. The meeting was har- 
monious and enthusiastic. They have 
an organizer who is already in the 
field. The next National Convention 
will be held in Chicago on the sec- 
ond Tuesday in August, 1912. 
Very truly yours, 

M. A. NEEF, 
President M. P. E. L. of A. 



THE IMPLET MAIL BOX 



Otis Turner. J. E. F. writes : "I see 
reference to Otis Turner as an Imp Di- 
rector. Is this the gentleman formerly 
with Selig?" 

In reply : Same gentleman, and a very 
nice gentleman and a very fine producer. 



Names of Characters. Amy writes : 
"Who played the part of Nick Carter in 
"the Kid and the Sleuth?" 

In reply : King Baggot. 



Jesse C. writes : "I want very much to 
know who was the gentlemanly man in 
"Mrs. Matthews, Dressmaker" 

In reply : William Shay. 



Vivian Prescott. E. B. writes : "Was 
not this lady formerly with the Biograph 
Company?" 

In reply : She was. 



Imp Californian Company. W. C. F. 
wants to know if the Imp Californian 
Company is to be permanently located in 
Los Angeles. 

In reply : It possibly may, but we can- 
not say definitely. 

Scenarios. Scribe writes : "Would 
like to sell you some corking, good ori- 
ginal scenarios. Will you buy them?" 

In reply: Send them along, Scribe, and 
we will see if you can sell 'em. 



Imp Scenario Editor. A. K. wants to 
know the name of the holder of this 



position. 

In reply : Herbert Brenon, who comes 
from a well-known literary family. 



Number of Moving Picture Thea- 
tres. C. E. (New York City) writes: 
"I am not in the moving picture game, 
but I want to know how many moving 
picture theatres there are in the United 
States, to decide a bet. I have said 
5000 or 6000 ; my friend bet me there are 
over 10,000. Who is right? 

In reply : The number commonly said 
is 12,000. 



Engaging Talent. J. G. (Long Island 
City) writes : "I am thinking of opening 
a Moving Picture House. Where could 
I hire a pianist, song slide singer, etc.? 

In reply : Try Len Spencer's Lyceum, 
East 14th Street, New York City. 

The Censorship. Rev. J. E. F. writes: 
Where can I obtain particulars of the 
moving picture censorship to which I 
occasionally see reference in the news- 
papers?" 

In reply : Address Mr. John Collier, 
People's Institute, East 15th Street, New 
York City. 



Number of Independent Manufac- 
turers. C. A. writes : "Seeing your ref- 
erence to Independent Manufacturers in 
former numbers, would like to know 
how many there are." 

In reply: Sixteen. Will print a list 



of their names and addresses in an early 
number. 



Shape of the Pictures. F. Watson 
(Syracuse), says: "Most of the pictures 
shown on the screen are rectangular in 
shape. Is it possible to vary the shape 
of the projected image?" 

In reply: Perfectly possible. You may 
have a circular, an oval, a dome shape ; 
all this rests with the printer. But work 
of the kind increases the cost of pro- 
duction — a serious item, as the profits on 
moving picture making and selling are 
not so great as are commonlv sup- 
posed. 



Educational Pictures. W. J. Sutton 
(London, Ont.) writes: "It seems to me 
that so-called educational pictures are 
not so popular with moving picture audi- 
ences as our betters in the newspapers 
think they ought to be. What do you 
think? In your opinion is there a great 
demand for educational pictures?" 

In reply : Not a very great demand. 
In our opinion the call for educational 
pictures is comparatively small. Educa- 
tional pictures are not money makers. 
What the public mostly wants are good 
dramas and comedies and good scenics. 
There are exceptions, of course. A film 
maker must lay himself out to suit the 
generality of tastes. If he tried to suit 
all tastes he would jolly soon have to 
shut up shop. 



The City of New York Owns Independent Moving Picture Theatres 



New York, Feb. 27. 1912. 
To the Editor. 

A fact that is not generally known, 
and one that would probably cause 
certain reformers to raise up their 
hands in horror, is that the City of 
New York actually owns and operates 
three moving-picture theatres on the 
East Side. I may not be amiss, per- 
haps, if I try to give a short synopsis 
of the history of each place. 

No. 172 Delancey Street, known as 
the "New Bridge Theatre," was for- 
merly an old police station house, with 
green lights in front to guide the hon- 
est. It has a municipal history that 
would gladden many an old New 
Yorker's heart. In the days when 
New York wasn't what it is now, this 
station house was the center of a 
pretty bad neighborhood, infested by 
the old famous Margin street and Co- 
lears Hook gangs, and many a young 
policeman won his spurs in his efforts 
to bring certain notorious prisoners 
to the old station. With the growth 
of the city and the building of the 
Williamsburg Bridge the creation of 
the Williamsburg Bridge Plaza, a 
new station house costing $500,000 was 
erected to float the left side of the 
plaza, and now Messrs. Rothbord and 
Gordon are managing as pretty a 
moving-picture theatre as was ever 
built, catering to the smiles and tears 
of the East Siders, on the identical 
spot, where before prisoners in their 
cells would await trial. 

No. 154 Clinton street, known as 



the Old Clinton Court Theatre, has 
even more of a municipal history. 
In 1865 these premises were used by 
the Old East Side Volunteer Hose Cart 
Company, of which Eddie Rosenstein 
was chief. Many an exciting chase 
through the streets, dragging their 
old pumps and hose carts, did those 
old fire laddies have. In 1888 it was 
converted into the Fifth District Mu- 
nicipal Court and practically every 
lawyer of any prominence in the legal 
world to-day made their first success 
or otherwise, in the old brown court- 
house on Clinton street. 

It was later used as the tenant and 
landlord part of the Municipal Court, 
and if those old walls could talk they 
would tell of the thousands of ten- 
ants evicted because of non-payment 
of rent, of the tears lost, of the hopes 
lost. But to-day instead of issuing 
judgments in default, it issues judg- 
ments of laughter and joy, tears and 
sorrow in sympathy with the photo- 
plays as they chase each other across 
the glass mirror screen. 

No. 180 Clinton street could also 
tell an interesting municipal tale. 
Being the oldest of any municipal 
building in the city, it was first a 
brownstone mansion, (he finest possi- 
ble, some of its interior decorations 
still existing. 

In the course of progress, about in 
1853, the Harry Howard Volunteers, 
another hose company, took posses- 
sion of the premises for their quar- 
ters. I have been assured by an old- 



timer in this vicinity that our steam 
engines and gasoline automobile hose 
carts are entirely discounted for ex- 
citement when an alarm sounded in 
the olden days, and the "Blues," as 
the Harry Howards were known, and 
the "Reds," as the Eddie Rosenstein 
boys were called, raced together to the 
fire. It seemed that the fire was the 
least, the main consideration being 
who got there first. It often ended 
by both companies falling into a 
pitched battle, with the delighted on- 
lookers wildly cheering. 

This old building was used to the 
last by the volunteers, and when the 
paid fire department came into exist- 
ence, it was converted into a "fuel 
depot," storing fuel and other neces- 
saries for the new-fangled engines. 

Lately the fire department aban- 
doned it and now motion pictures are 
being displayed in the oldest muni- 
cipal building outside of City Hall, 
and prominently displayed above the 
words "moving pictures" is the name, 
"Harry Howard," as if to recall to the 
old-timers that memory never dies. 
This is the Photodrome Theatre. 

The City of New York owns these 
three buildings and they are being 
run under the supervision of the 
Comptroller's office. In conformity 
with the independent spirit displayed 
by the city in this matter, each house 
is using first-class service, of the In- 
dependent kind. 

Very truly yours, 

WILLIAM BRANDT. 



CASTS OF THE IMP PLAYS. 

"THE ROMANCE OF AN OLD 
MAID." 

(Imp Drama. Release, Monday, 

March 25, 1912.) 

Written by R. H. Danforth, Berkeley, 

Cal. 

Produced by Otis Turner. 

Aunt Julia Rolinda Bainbridge 

Frank Rogers King Baggot 

Little Lucille Gladys E gan 

James Hopkins Wm. E. Shay 

"TEMPTED BUT TRUE." 

(Imp Drama. Release. Thursday, 

March 28, 1912.) 

Written and Produced by 

Otis Turner. 

Mary Dayton Vivian Prescott 

John Prentiss King Baggot 

Mr. Dayton Mrs. Welsh 

Mrs. Dayton Mrs. Hurley 

I'd ward Scarfe Wm. E. Shay 

Rev. David Snoakes Mr. Dillon 



"SQUNK CITY FIRE COMPANY." 

(Imp Comedy. Release, Saturday, 

March 30, 1912.) 
Written by J. W. Culbcrtson, Indian- 
apolis, Ind. 
Produced by F. J. Grandon. 

Bob Summers Harry Pollard 

Doc Smizely Ben Horning 

Zeke Stoely Ed. Lyons 

Mary Harding Margarita Fischer 

Mrs. Harding Miss Crolius 

Mr. Harding E. J. Le Saint 



"THE BABY." 

(Imp Educational. Release, Saturday, 

March 30, 3 912.) 
Written by Alice Mellor, Los An- 
geles, Cal. 
Produced by F. J. Grandon. 
Mrs. Noel Grantley . Margarita Fischer 

Mr. Noel Grantley Harry Pollard 

Nurse "Edna" Miss Angelis 

The Baby Little Wilbur 



ADVENTURES OF "MR. ALMOST 
BUTT." 

In No. 11 of "The Implet" we com- 
mence the publication of a series of 
cartoons entitled, "The Adventures 
of Mr. Almost Butt." These pictures 
have been made by a cracker-jack car- 
toonist, and they touch, for the first 
time, upon the humorous aspect of 
moving picture making, especially in 
amateur hands. 

"Mr. Almost Butt" is bound to be a 
very popular occupant of "The Implet" 
gallery of personalities. 

lie is just one great big "larf." 

"Larf and A. Butt larfs with you; 
wiipe and you wopc alone." 



JC 



THE ROMANCE OF AN OLD MAID 



Copyright 1912 by Imp Films Company 



An appealing story of an old maid, who suc- 
ceeds in reforming a dissolute widower 
whom she marries and whose little 



daughter she takes into her keeping. 



3-25-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pre*. 



>fHREB imps 
yyERY WEHC 



*fHBE§ IMPS 
'EVERY WEWC 



THE "IMPLET" 



A CHANGE OF STRIPES 

Story Founded On The Great Imp Comedy Release 
Saturday April 6th, 1912 

By THOMAS BEDDING 



"A CHANGE OF STRIPES." 

U. S. Federal Prison, 

Atlanta, Ga., 
Feb. 1, 1912. 

[Supposedly written by the convict, 
who is the principal character in the Imp 
Comedy Release, April 6th.] 

I. 

Byron's "Prisoner of Chillon," who 
had been immured in a Swiss Castle 
for many years, "regained his freedom 
with a sigh." 

Devil a bit of a sigh about me, 
when, after seven years seclusion I 
saw an opportunity. Opportunity, say 
the wise folks, comes to you but once 
in a life. Rot! 

Quite numerous opportunities have 
come to me in the course of my forty 
three years. I've seized 'em and prof- 
ited by 'em. 

There was one opportunity in par- 
ticular, that came to me of imitating 
another man's hand-writing. Unfor- 
tunately, the man, who was wealthy, 
suddenly formed the bad habit of 
reading his bank book. He saw 
that he had drawn out more money 
than he recollected. So he looked up 
his checks. 

I got ten years for taking this par- 
ticular opportunity. 

Seven of those years had passed 
when another opportunity came. 

This is how I took it. 

II. 
I got out of prison by very simple 
means. My docility of conduct, my 
strict attention to my Methodist 
bringing up. made me a marked man 
amongst the others. You know who 
I mean by amongst "the others." The 
other striped people. 

Some had murdered, some had burn- 
ed houses. Many, of course, had rob- 
bed. There were one or two ex- 
adventurers from Wall Street. There 
were — but why particularize further. 
There was the usual collection of con- 
victed opportunists. 

Many of them made the mistake of 
ignoring religion. I played the game, 
morning, noon and night. Played it 
so well that I was trusted with the 
honorable position of assistant libra- 
rian. 

Yes, we had a library. 

I was a great student. 

They allowed me to write a book. 

It was to be called "Confessions of 
a Repentant Forger." 

One day a sudden desire for free- 
dom induced me to violate their child- 
like confidence in me. 

To make a rope out of handkerchiefs, 
to open a window of the Reading 
Room, and drop into the roadway, 
while I was supposed to be consulting 
dictionaries and lexicons, was the work 
of a few minutes. 

It had taken me many long months 
of watching and waiting for this op- 
portunity. 

III. 

So I got away. 

The country was sweet smelling 
and vibrant with life. I looked upon 
it just as I imagined myself looking 
upon a new land to which I was sud- 
denly transported. The sky, the hills, 
the trees and the grass, were as 
fresh to me, as land must have been to 
those old mariners, who were so long 
on the sea in their sailing ships. 



Then the people were so quiet, so 
sleek, so good to see. 

The houses were so beautiful and 
homelike, in all their aspects. Every- 
thing bespoke the exact opposite of that 
which I had left behind. 

Freedom! 

Freedom from 

Freedom from prison life!!! 

I scarcely had time to breathe the 
air of freedom when I saw an auto- 
mobile approaching. It suddenly stop- 
ped. 




An Automobile Approaching. 

The man got out. 1 had wit enough 
to realize what had happened. The 
supplv of water had given out. He 
was off for more. In a flash I saw an- 
other opportunity. 

I pointed my hand towards the wo- 
man. In that hand was a piece of 
wood, which at the first glance any- 
body might mistake for a pistol. 

Especially the white-faced woman 
before me. She was scared at my 
stripes . That goes without saying. 

"I'll shoot," I said, "if you don'l 
do what I tell you." 

I jumped into the car and made her 
drive some distance up the road, till 1 
judged it convenient that she should 
hand me her cloak and hat. 

With these I covered my stripes. 
Then I made her get out, and I drove 
off alone. 

1 was sorry to do this, because she 
was young and pretty. But youth 
and beauty counted for nothing when 
liberty was at stake. Besides, in the 
wicker basket in the machine was, I 
judged, a lunch prepared for two. And 
I hadn't eaten a Broadway lunch for 
seven years. 

So when I got into a piece of wood- 
land, remote from the spot where I 
had met this providential machine, I 
opened the basket. 

For the first time in seven years I 
tasted cold chicken and California 
claret. Words fail me to describe the 
ecstasy of the meal. 

IV. 

Reader, there is one kind of litera- 
ture which is seldom perused. I have 
not time to write my full experiences. 
This is only a letter which I am per- 
mitted, by the courtesy of the war- 
den, to write to a friend, who thinks 
he may make either a story or a mov- 
ing picture scenario from it. 



The kind of literature I am referring 
to is that which deals with the ex- 
periences of prisoners who regain 
their freedom — what and how they 
see; what they feel; what they think, 
when they get into the world again. 
I could tell you some stories on this 
subject, but you had better read the 
books. 

Best of all, get hold of one or two 
ex-convicts and persuade them to talk. 

That claret was so devilish good 
that I sat too long over a box of cig- 
arettes that accompanied it. A man 
suddenly appeared. It was the owner 
of the car. 

Opportunity number three came to 
me. I jumped up and presented my 
fake pistol. 

"Move," I said, "and you are dead." 

Up went his hands. I put my pistol 
behind me. 

"Off with your clothes," I said. 

He hesitated. "Off with them," I 
said, "or I'll kill you and take them." 

He was neither brave nor clever. 
In ten minutes he was in my striped 
suit, and 1 was in his clothes. 1 had 
liberty, a pocket book with an address 
card in it, a bunch of keys, and $15.00 
in money. 

He had a convict's suit and a crip- 
pled car. At the point of the pistol 
I'd made him smash the driving wheel 
off its spindle. 

V. 
Mr. Arthur Crosby lived at Fern 
Villa, Airedown Township. I ran for 
dear life away from the disabled car 
and its owner. 

I met a man and asked him where 
Fern Villa was. He told me. It was 
fifteen minutes' run. 







'•Do as I tell you." 

And as I ran I saw a bill posted up 
offering $500 reward for an escaped 
convict. That convict was me, but 
Mr. Arthur Crosby had my stripes 
on. I resolved to take the chance. 

I figured that Crosby would be de- 
tained perhaps for a night, and that 1 
could enter his house and get suffi- 
cient of his portable property, pos- 



sibly money, which would take me a 
few hundred miles away. 

All of these calculations worked out 
to a nicety. 

Fern Villa was a charming place. 
There were two servants whom I had 
no difficulty in silencing when I got 
in. Gold and silver plate; a purse 
with a little roll of greenbacks ; all 
these were soon in my pocket. 

Visions of a seat in the Sunset Ex- 
press, which stopped at a station a 
mile away, were before me. 

I saw myself on the deck of a Japa- 
nese boat bound from Vancouver to a 
Pacific port. 

A new life opened up before me. 

Pleasant dreams? It was a pity I 
dreamed so long. 

It was a pity my cupidity took me 
to Fern Villa at all. 

Arthur Crosby was the local mayor, 
and Arthur Crosby's local influence 
was so strong that when I started to 
leave Fern Villa there was a posse 
making for the house. 

Of course my hands were up, and 
so was my game. 

Still it was worth it. Right from 
this cell I can see the Crosby couple 
now. They had started off for a day's 
automobile adventure. They did not 
expect such an adventure as the one 
I helped them to have. 

I made one mistake. I was greedy. 
I should not have gone to Fern Villa. 




The Game Was Up. 

I do not know if I will have an- 
other opportunity of breaking loose 
and changing stripes; but if I do, I 
will not be covetous. I will not be 
greedy; and I won't drink California 
claret by the wayside. 

I'll get away at once. 

I have now plenty of leisure to fin- 
ish "The Confessions of a Repentant 
Forger," but not the opportunity. 

I'm no longer assistant librarian. 
I'm in the infirmary, suffering from 
a wounded arm. 

When they landed me at Airedown 
Township I tried to escape with the 
manacles on. 

They shot; and a bullet lodged in 
my left arm. 

Hope my story will make a good 
piil ure. 




TEMPTED BUT TRUE 




Copyright 19 12 by Imo Filmt Company 




A young girl is attracted to a great city and 

successfully eludes the temptations 

that await her there. 



3-28-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



AWFUL EFFECTS OF MOVING PICTURES! II. 




Imp Pays and 
Imp Progresses 

IT WAS THE IMP 



which paid a stiff price to the 
Russian Countess de Swirsky to 
get 500 feet of her marvelous 
Russian dances-something total- 
ly new for moving pictures. See 
that you get this film! 

IT WAS THE IMP 

which paid a stiff price to pro- 
duce "Shamus O'Brien" in order 
that this Irish classic could be 
shown in Independent moving 
pictures. 

IT IS THE IMP 

which helps the great crusade 
against "loan sharks" by pro- 
ducing "The Loan Shark." 
Every theatre showing this film 
will win the public favor. Will 
you get the film or an excuse? 

IT IS THE IMP 

which produces "A Millionaire 
for a Day," that corking good 
comedy which shows the people 
"how it feels to be rich for a 
day." Will you get this film or 
an excuse instead ? 

IT'S ALWAYS THE IMP 

which does the big things in a 
big way; and the timely things 
at the right time. It's always the 
Imp that keeps your programs 
alive and spends money lavishly 
to make you proud you're Inde- 



POPULAR PICTURES OF IMP STARS 




THINK OF IT' W$ W$% Actual Sizeof EachPhoto 

THIS complete set of PROCESS PEBBLED PRINTS ^^ Imp FillTlS 

of Imp start for the insignificant sum of 50c. It's the biggest Qfj, 

bargain and the softest snap ever offered you. Buy one ^^r ^ ^ ^^ ST.,IEWYORK,N.Y. 

set for yourself and you'll quickly see how easy it will be ^ 

to sell other sets to your patrons who are enthusiastic ^^P Gentlemen : 

overImpactorsandactres.es. Tear off coupon, fill ^ Enclosed find $ for 

in the blanks, enclose with the proper sum ot ^^ 

money to cover as many sets as you want ^^ which please send — ....sets or 

at 50c per set write your nam e and ^^ photoi of Imp stars as described in the 

addrtss pamly and---mallat ^ _ i • i i i • 

once to the ^f advertisement rrom which 1 cut this coupon. 

IMP FILMS CO. ^ Yours truly, 

102 W. 101st ST. ^^ 

^ Name 

Address 



SQUNK CITY FIRE COMPANY 



Copyright 1912 by Imp Film* Company 



The members of the Squnk City Fire Company are exercis- 
ing their minds as to whose duty it is to first start the 
work of fire extinction, while the building burns. 

On The Same Reel XHE BABY 



3-30-12 



Yhreb imps 

^EKf WEEK, 



IMP FILMS COMPANY 

102 West 101st Street, New York Carl Laemmle, Pre: 



ZllMg IMPS 
-EVERY WEEIC 



THE "IMPLET" 




The Open Market! 

(/fy C#r/ Laemmle) 

The Imp Company is selling more films in the 

open markets of Europe than it is in America. Let that 

sink in. 7/ is sensational. In competition with all the best brands of film in the 
world, the Imp sells more prints in Europe than it does in this country. How 
many film manufacturers, licensed or independent, can say that, and say it 
truthfully? Remember that in Europe no film is bought until it has been 
exhibited on the screen. There is no such thing as a '^standing order" over 
there. Merit, and nothing but merit, is the factor that determines whether a 
film is a success or a failure! 

European exhibitors are infinitely more critical 

and more exacting in their demands than you are. They 

demand Imp films constantly. No matter whether it is a comedy, a drama, a 
scenic, an industrial or whatnot — if it is an Imp they demand it. And, what's more, 
they get it. In Europe the first-run customers dictate the buying! They actually 
tell the exchange man what to buy and what to avoid ! They know their 
power, and they use it. You don't know your power. Consequently, you 
don't use it. Or, if you do, it is only spasmodically. You ask your exchange, 
you request, you beg. You ought to demand, command, insist! The exchange 
is your servant. You treat it like a master. 

I have owned theatres myself. I demanded — or, rather, 

my managers demanded — every Imp produced and got them. That's proof 

enough that it can be done. I always paid a good, healthy price for my rentals, 

no matter what exchange I dealt with. I never haggled on that score. But I said, 'If I'm going 
to pay your price, you've got to come across with what I'm paying for." If you are not getting 
what you are paying for, you are either a philanthropist, a careless business man or an easy mark. Why don't you wake up? 

(Next week's installment: "$45,000 Gone to Hell" ) 





&r, 



n 



THE QUALITY OF THE PICTURE 

An Address to the Dayton Convention 
March 26-27, 1912 



■//'■ 



rvi 



:^^ 



A/' 



m 



zti.- 






X s 



'to?® 



Gentlemen: Duty obliges me to remain at 
my post in charge of The Implet, the most influ- 
ential moving-picture newspaper in the world; 
otherwise, I would have accepted President 
Neff's invitation to be present at the Ohio 
Convention. But if I had been present I 
would, with his permission, have talked what 
I am writing to you. I write very well — at 
least everybody says so, but I talk very much 
better — everybody also says that. 

I am so busy that I am unable to have a 
phonographic record made of what I would 
like you to listen to, so I have to depend upon 
printer's type for conveying to each and all of 
you, and through you, the exhibitors, not only 
of the United States, but of all the world, what 
I want to say. 

No. 4 of Carl Laemmle's articles on the back 
page of this paper was written independently 
of what I am writing. There never was such 
a striking incident of two men thinking abso- 
lutely alike irrespectively of each other. You 
will observe that Mr. Laemmle's theme is 
"Picture Quality." He insists upon the exhib- 
itor's duty of getting the best pictures. Mind! 
It is the exhibitor's duty to himself, to his pa- 
trons, the public, and obviously to his bank 
account to obtain and exhibit the best pic- 
tures. That's his duty and its logical effect. 

The editor of The Implet was the first prac- 
tical moving-picture man and practical news- 
paper man to preach, three years ago, the su- 
preme importance of quality in the moving pic- 
ture. Thousands of people all over the world 
recognized this fact. What did I mean by 
"quality"? I meant good, clear stories or 
themes, well acted by competent dramatic ar- 
tists, well mounted, well produced; above all 
things, well photographed — the best quality in 
story, acting, production and photography it is 
possible to obtain. 

For a time I was ridiculed by ignorant men 
in the business for harping upon the supreme 
necessity of good quality in the moving picture. 
"Any old thing" did a few years ago, so long 
as there was something on the screen that ap- 
peared to move. That time has gone. The 
public has been educated to demand the photo- 
play perfectly presented and perfectly photo- 
graphed. The public now wont stand for any- 
thing else. 



The public and the manufacturers are doing 
their part. 

Are you? 

I doubt it in the general sense. 

The exhibitor has hitherto been the sport of 
factions. Now. thank goodness, he is getting 
together with his fellows. In getting together 
with his fellows he cannot more directly ad- 
vantage himself than by insisting that each film 
he obtains for exhibition measures up tc a cer- 
tain standard of quality. 

What is that standard? 

I unhesitatingly reply — the Imp standard. 

Not because I am working for the Imp Films 
Company, but because as an author, something 
of an actor and producer and, above all things, 
a photographer, I know the infinite pains 
which the Imp Films Company is taking to 
make high quality moving pictures. Some 
of the pictures that are now being released 
are among the best of the world's motion 
pictures. Some that are to be made will be 
better than any pictures anybody is making 
now. 

This is what I would like to say at your ban- 
quet. You may take my word for it, that what 
I am writing here is true in letter and fact. 
But I want you to do more. I want you all, 
and each individual, to exert his own right, his 
own independence, to go out in the open mar- 
ket and exercise his individual right in filling 
his program. It does not matter what the ex- 
hibitor's picture program of any one week con- 
sists of, the Imp films will occupy the fore- 
most place. 

Alwavs demand the best films, and the Imp 
pictures will be among them. They will auto- 
matically take the place that rightly belongs to 
them, namely, that of the most popular films 
on the world's market to-day. 

Gentlemen, the public is demanding Imp 
films — the world is demanding Imp films. 

Give the public what it wants. 

Every man in business who does that makes 
money. 

Vox populi. vox Dei, which, being freely 
translated, means that the public, i.e. — the peo- 
ple at large — is invariably correct in its judg- 
ment. 



The public wants Imp films. 



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THE "IMPLET 



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Cfce "31mplet 

The Moving Picture Newspaper 

EdiUd by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 



Published at 102 W. 101st St., New York 



SUBSCRIPTION PRICE. $1.00 PER YEAR 
SINGLE COPY. 5 CENTS 



THE PRICE OF METOL 

"Announcement has been made by 
the importers of 'Metol' to the effect 
that the price of this standard com- 
modity has been reduced materially. 

"For practically two years the mak- 
ers of 'Metol,' which is a German 
product, have maintained their prices. 
Now, however, the greatly increased 
demand for 'Metol' on the part of the 
the motion-picture interests has com- 
pelled the manufacturers to seek 
means by which 'Metol,' which is re- 
lated to the expensive coal-tar prod- 
ucts, can be produced at a price which 
would warrant a reduction in the sell- 
ing list. Recently this has been ac- 
complished, and as a result of continu- 
ous experiment and the discovery of 
a much quicker process in distillation 
the present decrease in prices comes. 

"Two German companies control the 
production of 'Metol,' these com- 
panies being among the largest manu- 
facturers of photographic chemicals 
in the world. Their attitude toward 
the photographer has always been 
progressive, and this latest move is an 
indication of the German system, 
which at all times tends toward an 
equitable relation between manufac- 
turer and consumer." 

What Berlin Aniline Works Says. 

George L. Barrows, chief of the 
photographic department of the Ber- 
lin Aniline Works, when asked by a 
representative of The Implet for a 
statement with reference to the reduc- 
tion in price of "Metol," said: "Since 
its first introduction upon the Amer- 
ican market 'Agfa Metol' has enjoyed 

~ ,. + ^„j, r „ „ j : , ,„:„,. j ~ ~~, . — . -J *"* . . *- 

sales for 1911 were greater than ever 
before, due to the almost universal 
use of 'Metol' as a developing agent 
in this rapidly growing field. 

"This has resulted in marked atten- 
tion being paid to the production of 
'Metol' by our house, Actien-Gesell- 
schaft fur Anilin-Fabrikation, and we 
have recently been instructed to re- 
duce the price according to the new 
list, which is being mailed to all con- 
sumers. We are particularly gratified 
over this reduction, as it enables us 
to meet the prices being quoted on 
other chemicals said to be of identical 
character, produced by houses which 
have recently started to make photo- 
graphic developers. Our pre-eminence 
in the production of standard 'Metol' 
and the large quantities we produce 
assure the photographer uniformity 
and absolute chemical quality. There- 
fore we are convinced that those 
workers who have used 'Agfa' prod- 
ucts in the most critical work will 
welcome the action we have taken in 
making the marked price reduction 
operative on March 1st." 



THE IMPLET MAIL BOX 



Various Questions. — Mrs. L. asks: 
Will The Implet only print news 
and pictures, or will it print news of 
all films? Kindly inform me what 
the girl's name is who took Florence 
Lawrence's place in the Imp Com- 
pany. 

In reply: (1) Probably in time all 
news of all pictures will be printed. 
(2) See casts of characters in The 
Implet. 



Various Questions. — 1. Imp Booster 
writes: I see that the Biograph Com- 
pany release a picture on the 14th 
of March, entitled "Iola's Promise," 
in which Mary Pickford plays the 
lead. I also note in your release "A 
Timely Repentance," in which she 
plays the role of Mrs. Nordell. Now, 
please, tell me is she acting for the 
Imp or the Biograph Company? 2. 
What is the name of the pretty girl 
who took the part of "Dorothy" in 
Dorothy's Family? 3. What is the 
name of the leading lady in "From 
the Bottom of the Sea"? 4. Is Mar- 
garet Frisbee still with you? 5. Are 
Margaret Frisbee and Isabel Rea re- 
lated in any way? 6. Are you going 
to continue having Imp players' pho-. 
tographs in The Implet? 

In Reply. — 1. "A Timely Repent- 
ance" was made last summer. Miss 
Pickford is now with the Biograph 
Company. 2. Miss Ethel Grandon. 
3. Miss Ethel Grandon. 4. Do not 
know the lady. 5. Do not know. 6. 
Yes. 



Various Questions. — 1. J. F. C. asks: 
Number of picture theatres in the 
United States. 2. Number of picture 
companies making pictures in the 
United States. 3. Approximate amount 
of money invested in the manufac- 
ture of motion pictures in the United 
States. 4. Average cost of production 
of a reel. 5. Average salary paid to 
actors of picture companies in the 
United States. 

In Reply.— 1. About 12,000. 2. About 
30. 3. Difficult to answer precise- 
ly, but we should say from twen- 
ty to fifty millions. 4. Also difficult 
to answer, but probably $2,000. 5. 
Also very difficult to answer, but the 
average salary of the members of a 
stock company taken all-round might 
be $50 a week. 



Becoming an Actor. H. Macpherson 
writes : How can a man enter into busi- 
ness as a photo-play actor, especially one 
who has had no experience whatever in 
the business? 

In reply : Assuming that the would- 
be-actor is young and has had no ex- 
perience, his best plan, in our opinion, 
would be to obtain a post in a Moving- 
Picture Studio as an extra, or "go on 
with the crowd" occasionally. If he has 
any real acting talent, the director will 
soon discover it and give him a chance 
of a part. The lowest rung on every 
ladder is available to everyone, and that 
is how we recommend the applicant to 
start in. 



Apparatus for Making Moving Pic- 
tures._ E. Tacha wants prices of mov- 
ing picture cameras, lenses, films and 
other accessories needed to make first- 
class pictures. 

In reply : He may obtain all the appar- 
atus from Eberhard Schneider, No. 219 
Second avenue, New York City. The 
films may be obtained from the Eastman 
Kodak Company, Rochester, N. Y., or 
Lumiere Jougla Company, No. 75 Fifth 
Avenue, New York City. 



Feature Films. J. McClosky (Har- 
risburg), writes: "I notice feature 
films are becoming more and more pop- 
ular, or at any rate the number of peo- 
ple putting out feature films is on the 
increase. Look at their big 'ads' and 
the money they spend ! Now, I am an 
exhibitor who likes to be well up with 
the times. Do you think feature films 
are likely to become general?" 

In reply: We do not quite catch the 
drift of our correspondent's query, but 
what we imagine he means is this. Do 
we think that manufacturers generally 
will find it necessary to put out 2000 or 
3000 foot subjects as a rule rather than 
an exception? The tendency certainly 
seems to be that way both here and 
across the Atlantic. Some people seem 
to think that the short length subjects 
are likely to be superseded by much 
longer ones. One thing tolerably clear 
is that the public inclines decisively to 
longer pictures. It will soon show its 
taste in unmistakable fashion. The 
public always does. 



LIKE THE IMPLET AND THE IMPS 



FEATURES ALL IMPS. 

March 7, 1912. 
To the Editor. 

Sir: I must say there is some class 
to The Implet and it is a real worth- 
while motion-picture publication, and 
wish you would put me on your mail- 
ing list. There arc a few patrons who 
have got a peep at The Implet here 
at the Lyric, and it is a hard matter 
to keep one on hand. We feature 
all Imp films, and Columbia picture 
lovers are, and have always been, 
strong for Imp productions, and King 
Baggot and all members of this 
clever company of photo-play stars 
receive many hearty applauses when 
the Imp films are shown. We had to 
turn away hundreds of patrons on 
the day we ran "From the Bottom 
of the Sea," and we would never kick 
to the exchange should we ever get it 
as a repeater. Here's hoping that 
The Implet will grow to a 25 or 30- 
pagc booklet, and from the way 
things look now it will. With best 
wishes and big success to you and 
your welcome Implet, I am, 
Yours truly, 

E. A. LOUDETTE. 

Lyric Theatre. Columbia, S. C. 

P. S. — You may put the Pastime 
here on your list, a new theatre to 
open soon — and will run Independent 
films, of course. 



CASTS OF TH 

"Where Paths Meet." 

(Imp Drama. Release, Monday, April 

1, 1912.) 

Written by Harry Pollard, New York 

City. 

Produced by Farrcll Macdonald. 

Reuben Ward E. J. Le Saint 

Alice Ward Margarita Fischer 

Tommy Ward Joe Moore 

James Bright Harry Pollard 

Arthur Veritey Ed. Lyons 

Reginald Cleaver H. S. Mack 

Violet Dale Ethel White 

Leonard Murray. Murdock McQuarry 



"The Dove and the Serpent." 

(Imp. Drama. Release, Thursday. 

April 4, 1912.) 

Written by E. J. Le Saint, New York 

City. 

Produced by F. J. Grandon. 

Tortola Margarita Fischer 

Luis Arguello Ed. Lyons 

Pablo Harry Pollard 



E IMP PLAYS 

Bella Marie Barnett 

Sr. Lopez (Tortola's father), 

Ben Horning 

"The Chef's Downfall." 
(Imp. Comedy. Release, Saturday, 

April 6, 1912.) 
Written by Sidney Franklin, Brook- 
lyn, N. Y. 
Producer! by Otis Turner. 

The Chef J. R. Cumpson 

Anna Travers Grace Lewis 

The Cook Vivian Prescott 

James Thornton E. Crane 

"A Change of Stripes." 

(Imp Comedy. Release, Saturday, 

April 6, 1912.) 

Written by E. O. Smith, Los Angeles, 

California.) 

Produced by F. J. Crandon. 

Arthur Crosby Ben Horning 

Mrs. Crosby Louise Crolius 

Albert Freeman.. Harry Pollard 

Sheriff Knight E. J. Le Saint 



"THE IMP" IS ALWAYS ALL 
RIGHT. 

March (i, 1912. 
To the Editor. 

Sir: The Implet is a very stunning 
sheet, and we read it with much in- 
terest. It touches so clearly and in- 
terestingly on all things pertaining 
to moving picturedom. A very in- 
teresting and also satisfying incident 
occurred several days since. The 
'phone bell rang and was answered by 
the writer. Imagine his surprise when 
the voice on the other end inquired: 
"Are you going to put on an Imp 
picture this afternoon?" The answer 
was "Yes." "Then I want to see it, 
for I think they are the best ever." 
The cold fact is that we like them 
ourselves, and for several reasons — 
the photography, clearness of detail 
— subjects that can not but appeal to 
the most fastidious. There is one of 
your actors who is very popular with 
our lady patrons. If you have photo- 
graphs of your company, we would 
like very much to have either as in- 
dividuals or in a group that we may 
use for a lobby display in order to 
acquaint the people of Genoa with 
them. Might say our theatre, which 
is new, with a seating capacity of 
1,000 and costing nearly $40,000, would 
make your films popular if we had a 
photo of your company. We are 
booking out of Buffalo and Albany 
and hope to have all your releases. 
When we see a film marked Imp we 
think it unnecessary to try it out, for 
we are morally sure it is all right. 
Very truly yours, 
PIERCE-NAGLE AMUSE- 
MENT COMPANY. 
Geneva, N. Y. 



LIKES THE STORIES. 



March 7, 1912. 



To the Editor. 



Sir: 1 have this day received my 
third copy of The Implet, and 1 must 
say I think they "are just the dope." 
I see from the front page of Implet 
No. 7 that you are going to have 
moving-picture stories in next week's 
Tmplet, No. 8, and wish to say that 
I think your editor is conferring a 
great favor upon the readers of The 
Implet by putting these stories in. 

Thanking you for your kindness in 
sending me these bulletins, 1 desire to 
remain, 

Yours respectfully. 

TUEO. J. BECKER. 
Kansas City. Mo. 



REAL PHOJOGRAPHS 

OF 

IMP FAVORITES 

We have for disposal a few real 
photographs (that is, beautiful surface 
prints) of some of our Imp players. 
There is King Baggot, whose picture 
is 1154 x V/>; there is W. R. Daly 
represented on a 9 x 7 picture, and 
H. S. Mack also on a 9 x 7. The 
number of these photographs is lim- 
ited. They are as good as the cele- 
brated theatrical photographer. White, 
of Broadway, can make them. We are 
selling them at 15 cents each. Send 
your orders, and the money to cover 
cost, to the Imp Films Company, 102 
I West 101st Street, New York City. 



BROCKLISS GOES HOME. 

Mr. J. F. Brockliss, the London agent 
of the Imp Films, has returned to Lon- 
don after a stay of several weeks in the 
United States. Mr. Brockliss has been 



a very busy man, as well as a very pop- 
ular one, and he returns to Europe more 
than ever persuaded of the enormous 
possibilities of the Imp Films capturing 
the suffrages of the European public. 



1^ 





WHERE PATHS MEET 



Copyright 1912 by Imp Films Company 





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The story of a young girl who succumbs to the lure of a 
great city but is rescued, repents, and is restored 



to home and happiness. 



4-1-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



, Y[[RE£ IMPS 



+ 



THE "IMPLET" 



ASTA NEILSEN, THE GREAT DANISH ACTRESS IN AN IMP PICTURE 

Imp Drama Release of April 18, 1912 

"WOMAN ALWAYS PAYS" 



European society some years ago, 
and for that matter society through- 
out the world, was startled by a series 
of incidents that actually occurred, 
which form, quite fortuitously, the 
basis of this great drama, "The Wo- 
man Always Pays." The woman paid 
in real life, just as vividly and forcibly 
as she is made to pay in this play. 




Asta Neilsen 

A beautiful girl, capricious and rich, 
marries a man of great family. She 
married for social renown. When she 
got social renown she found it was 
something like dead sea fruit — not 
worth the having, or the eating. She 
was disappointed, as many women 
have been before, by the artifices and 
hollowness of society. 



Still she had much, if not every- 
thing, to make life tolerable; she had 
a title, wealth, refined surroundings, 
position in society and a husband. 

Visually, he was all a husband could 
or should be. 

But she did not love him. 

One day an element of romance en- 
tered her life. She listened to a band 
of musicians from a Trans-Alpine 
country. 

Never mind the country; the chief 
musician was a swarthy and hand- 
some pagan, but he played divinely. 
He had a rolling eye, a passionate 
tongue, the manner of love and ro- 
mance, and — the society woman lost 
her heart to this modern incarnation 
of medieval romanticism. 

The Duchess gave herself to a fid- 
dler! 

They eloped. 

Society was scandalized; the news- 
papers had good copy, and for several 
years the couple were the notorieties 
of every fashionable resort in Europe. 

Of course, this woman paid. The 
romantic fiddler turned out to be a 
vulgar brute. The infatuated Duchess 
lost everything — but her name and the 
remnant of a fortune. 

This is a true story. 

Every student of events during the 
last ten years could name the prin- 
cipals. It is not necessary for us to 



do it here. Enough has been said. 

The story of the Imp Drama Re- 
lease of April 18th, "The Woman Al- 
ways Pays," affords the renowned 
European actress, Asta Neilsen. an op- 
portunity of impersonating a girl 
who, tiring of her husband and her 
life in attractive surroundings, con- 
ceives a sudden admiration for a pic- 
turesque circus man. 

The circus possessed her thoughts. 
In a sudden paroxysm of distaste for 
her husband she is attracted by the 
handsome vagabond. 

Rosa's career is suddenly changed, 
but under the tuition of her admirer 
she becomes a gifted member of the 
"haute ecole." 

The new life fascinates her; it is so 
unconventional and exciting. But, 
alas, her hero, Victor, proves incon- 
stant; he transfers his affections to 
another girl of the circus. There is 
a quarrel, and Victor and Rosa are 
discharged. 

Down they sink in the social scale. 
He becomes a dissolute ne'er-do-well. 
She the pianist at a popular beer garden. 

Still her husband in all her vicissi- 
tudes has never lost sight of his duty. 
His duty was to reclaim his erring 
wife. He tracks and traces her down 
after her discharge from the circus, 
and finally runs her to earth in the 
role of piano-player. 



In a series of rapidly moving dra- 
matic situations, husband and wife 
meet alone in a room. He makes a 
last appeal to her to return to him; 
she agrees to 'do so. She packs up 
her belongings, she is about to leave 
the circus man, when suddenly the 
latter reappears and so successfully 
asserts his domination over her that 
he again wins the woman to him. 

Still the husband is undaunted. He 
makes yet another effort to regain his 
wife, but Victor refuses to give up 
the struggle and interposes once 
again. This time the man and the 
woman quarrel and she. in order to 
make her escape from him, stabs him 
to death; is arrested, and taken away 
to prison, while her helpless husband 
looks on. 

The scenes of this play are laid in 
Europe; the settings are exceedingly 
beautiful; the acting is of the highest 
dramatic nature. 

In the part of "Rosa," the famous 
Danish actress, Asta Neilsen, makes 
her first appearance on the American 
moving-picture screen. Asta Neilsen, 
it may be explained, has acted before 
the Royal Danish Court, and besides 
being recognized as probably the 
greatest motion-picture actress in the 
world, is also a great figure on the 
European regular stage. 



MARGARITA FISCHER 

BY HERSELF 



I started in the theatrical profession 
when I was twelve years old. I was a 
featured child actress in my father's com- 
pany for several seasons, being known 
at first as "Babe" Fischer and later Mar- 
garita Fischer. The company then being 
called "The Margarita Fischer Co." Our 

ICLLLlOlJ >vaa 111 lilt ,vCot ou/.i„ Uiv. 

coast States and through the Pacific 
Northwest. I have a theatre in Eureka, 
Calif., on the coast, named for me, "The 
Margarita Theatre." From my very 
first professional experience I have been 
a leading lady, playing the first season 
"East Lynne" (Lady Isabel) La Bell 
Marie in the play of the same name, 
"Uncle Tom's Cabin," playing Topsy; 
Leah, in "Leah the Forsaken" ; "Ten 
Nights in a Barroom," playing little 
Mary Morgan, and each season follow- 
ing was the same. I know it is hard to 
believe a child playing such parts as 
"Leah" and "La Bell Marie," "Lady 
Isabell," "Mary Magdalene," but it is 
true and I can get you the press notices 
if you doubt it. When my father died 
that ended the "Margarita Fischer Co." 
Then I was featured with most of the 
prominent stock companies as the young- 
est leading woman. I remember when 
I was with Walter Sanford Stock in 



San Francisco playing Louise in "The 
Two Orphans," followed by Mary Mag- 
delene in "The Holy City," and Topsy the 
week following in "Uncle Tom's Cabin." 
It certainly required some versatility. 
Mr. Pollard was leading man of the 
same company. Later I went into vau- 
deville fcr a short season. I played one 
season with T. Daniel Frawley in Win- 
nipeg, Can., and with Grace George in 
Chicago, and created the lead in Joseph 
Medill Patteson's sketch "By-Products," 
which was two weeks at the American 
Music Hall, Chicago, when it was on the 
Morris time. But I gave it up for the 
moving picture business. I joined the 
Selig Company, and later the American 
Film Company, and last summer was 
leading woman in Omaha, Neb., in dra- 
matic stock. From there I went to the 
Imp Company. There now, you know 
the history of my life, Ha! Ha! I have 
received a lot of offers to go on the 
stage again, but am not ready to return. 
Mr. Frawley, who is now with Savage, 
has offered me parts in "The Spend- 
thrift," "Excuse Me," "Everywoman," 
etc., from time to time, but the moving 
picture business looked the best to me. 
I hope to stay in it for some time. 



Imp Players: J. R. CUMPSON 



Mr. Cumpson's reputation as a mov- 
ing-picture comedian is world-wide. 
The first laugh that a moving-picture 
extracted from me here in New York 
was due to the extremely humorous 
acting of Mr. Cumpson, with whom 
and at whom I have laughed continu- 
ously ever since. 

Mr. Cumpson, as is well known, 
was the Biograph "Jones" and the 
Edison "Bumptious." He is now the 
Imp comedian par excellence. When- 
ever Cumpson is in an Imp picture, 
and is at Cumpson's best, be sure the 



picture will get right over. He is a 
natural comedian; a natural droll; a 
natural comique. 

Many of the Saturday splits, re- 
cently released by the Imp Films 
Company, have been just Cumpson. 
Take, for example, "The Broken 
Lease," in which Cumpson carries the 
fun right through from start to fin- 
ish. Take, also, "Brown Moves in 
Town"; take also — well, take a dozen 
Imp comedies, they are Cumpson, 
Cumpson, CUMPSON. 

Mr. Cumpson is "it" in "A Mil- 
lionaire for a Day," shortly to be re- 




J. K. Cumpson 

leased. He is vastly popular with 
Imp fans all over the world. Funny 
as he has been, he will be funnier 



in the future. He will have the ve- 
hicles. He will keep Imp fandom 
in one perpetual laugh. T. B. 



NEWS FROM THE IMP CALIFORNIAN COMPANY— By Our Special Correspondent 



We finished two reels this week — 
"The Squnkville Fire Department," 
one of the Imp prize scenarios, and a 
drama by myself which I think Mr. 
Grandon will call "La Tortola" (The 
Dove). Owing to a scratch in the 
raw stock, part of the negative of the 
former will have to be re-taken. More 
work for the poor California troupe! 
We were up every morning last week 
at 6 o'clock, and not one day did we 



reach home before 6:30. Still, between 
scenes, the boys have found time for 
some sport — also the girls. "Eddie" 
Lyons and chubby Eugene Kelly have 
organized a baseball team. It would 
do your heart good to see "Eddie" 
swat the ball and Eugene doing dou- 
ble somersaults going after it. All 
dignity is laid aside, and from lead- 
ing man to property boy all take their 
turn at batting and fielding. One of 



the best players on the team is Mar- 
garita Fisher. She is some "pitcher"! 
Her curves fool even her hard-hitting 
husband. It is a relaxation, and de- 
spite aching muscles keeps everybody 
in a good humor. Another thing that 
keeps every one in convulsions is the 
wit of Gaetano Gandio. The atmos- 
phere out here being so like his na- 
tive Italy, "Tony," as he is popularly 
known, is constantly bubbling over 



with witticisms. Besides being one 
of the few good motion-picture pho- 
tographers in the business, he is also 
one of the most popular members of 
the West Coast aggregation. I en- 
close an excellent likeness of him, 
taken just as he is about to utter his 
famous "One, two three!" at the be- 
ginning of a scene. 



1^5 




THE DOVE AND THE SERPENT 




Copyright 1912 by Imp Films Come 4 





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A Mexican drama portraying the love adventures of a 
beautiful girl who, having found one lover false, is final- 
ly united to the man proven worthy of her love. 4412 



IMP FILMS COMPANY 



*fHREB IMPS 

,£0wr WEEK, 



102 West 101$t Street, New York 



Carl Laemmle, Pres. 



ZMB£g imps 
'EVERY WEEJC 



THE ADVENTURES OF MR. ALMOST BUTT 



/ NOW WHEN » 
*A/SE MX L£PT 
HAND L^T THhT 
k fcULL I* 





IT WILL 6e SOLD 
/N ENGLAND, PRANCE, 
q££MANY WNITfD -SPATES j 
AND "H4e SAHARA D£S£KT 












Imp Pays and 
Imp Progresses 

IT WAS THE IMP 

which paid a stiff price to the 
Russian Countess de Swirsky to 
get 500 feet of her marvelous 
Russian dances-something total- 
ly new for moving pictures. See 
that you get this film! 

IT WAS THE IMP 

which paid a stiff price to pro- 
duce "Shamus O'Brien" in order 
that this Irish classic could be 
shown in Independent moving 
pictures. 

IT IS THE IMP 

which helps the great crusade 
against "loan sharks" by pro- 
ducing "The Loan Shark." 
Every theatre showing this film 
will win the public favor. Will 
you get the film or an excuse? 

IT IS THE IMP 

which produces "A Millionaire 
for a Day," that corking good 
comedy which shows the people 
"how it feels to be rich for a 
day." Will you get this film or 
an excuse instead ? 

IT'S ALWAYS THE IMP 

which does the big things in a 
big way; and the timely things 
at the right time. It's always the 
Imp that keeps your programs 
alive and spends money lavishly 
fn male* vnn nrnud vou're Inde- 



POPULAR PICTURES OF IMP STARS 




TUIMl r fMT IT! 8$M2i SM£? Actual Size of Each Photo 

1 rlllNlv Ur 1 1 i §jvg w% £T/ V RT/in 

THIS complete set of PROCESS PEBBLED PRINTS ^ lip FlliS 

of Imp star* for the insignificant sum of 50c. It s the biggest UO. 

bargain and the softest snap ever offered you. Buy one ^^ , 02 w )01s( ST .,|EWY0RK,IU- 

set for yourself and you'll quickly see how easy it will be _, . 

to sell other sets to your patrons who are enthusiastic ^^f Gentlemen : 

over Imp actors and actresses. Tear off coupon, fill Enclosed find $... for 

in the blanks, enclose with the proper sjm of ^^ , 

money to cover as many sets as you want ^ which please send... sets or 

at 50c per set, write your name and ^^ photos of Imp stars as described in the 

address plainly and- r -mailat ^ , . _ ,, .,„_ 

once to the _^ advertisement from which 1 cut this coupon. 

IMP FILMS CO. ^ Yours truly, 

102 W. 101st ST. ^^ 

^ Name - 

Address 




THE CHEF'S DOWNFALL 




Copyright 1912 by Imp Films Company 





A French chef poses as a Count for the purpose of marrying 
a rich girl, but is unmasked by a fellow servant. 



4-6-12 



ON THE SAME REEL 



A CHANGE OF STRIPES 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmlt, Pre*. 



THE "IMPLET" 



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$45,000 Gone to Hell 

(By Carl Laemmle) 

The Imp has $45,000 worth of negatives which 

never have been released and never will be released. Why? 

Because they don't measure up to the Imp standard. And we don't intend to 
release any film that can hurt our reputation in the eyes of the world. It is 
possible we will sell part of these discards to other companies less particular than 
the Imp, here or abroad, but we figure the entire $45,000 a dead loss. In some 
of the films the photography is defective: in others the plot is not so strong as it 
looked when in manuscript form; in others there are other defects. At any rate 
they are not good enough to bear the name "Imp." 

The Imp could save $2,000 a week for the 

next year — a total of over $100,000 — by letting out some 

of its high-salaried performers, producers, and experts in other departments and 
employing cheaper people instead. The Imp could save untold thousands of 
dollars every month by using cheaper raw stock, cheaper equipment, cheaper 
everything. But quality would suffer. And we have never, not for one single 
moment, let expense stand in the way of producing high-grade, first-class, well- 
nigh perfect films. We have been laughed at, called fools, poor business men, 
easy marks and other pleasant epithets — but Imps have gone steadily onward and 

upward, vindicating our policy of making good goods instead of trying to get rich quick I 

The Imp, in addition to the $45,000 worth of 

rejected films (rejected by ourselves), has nearly $50,000 

tied up in good films, future releases. We are so far ahead on good release 

subjects that we can take our time about producing everything with extreme care. We don't have 
to hurry the buying of our stories. We don't have to release a poor film just to keep our three a 
week on the market. We have insured you a?id ourselves against any deterioration of Imps. The 
people at large will find this out. They will soon find the theatre that gives them three Imps a week. 
They are wide awake. Even now they ask you when the next Imp will be shown. Why not make 
capital out of this for yourself f Why not advertise three Imps a week and then arrange with your 
exchange so you can make good your promises to your patrons? 

(Next week's installment: "Stockholders." ) 







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In an article three weeks ago headed, "The 
Duper and His Doom," we pointed out that 
the exhibitor who knowingly showed duped 
films ran great risks of prosecution for copy- 
right infringement. The section of the copy- 
right act, 1909, is ideally clear on this point, 
as we made clear. You can be fined, or you 
can be jailed for showing a duped picture. 

We hope, and we believe, that our warning 
has not been without effect. Exhibitors, we 
know, take chances in this matter; the pru- 
dent man, however, does not. The risks are 
too great and those risks are bound to in- 
crease. The manufacturers are getting wise 
to the losses they are sustaining by duping. 
They mean to stop them. 

Now, there's another danger that the ex- 
hibitor is encountering and we want to put 
him wise to it. We do not want to frighten 
him. We want to put him on his guard. We 
want him to prosper in peace, for if he pros- 
pers in peace, he will do more business and 
buy more Imp pictures, which is what we 
want him primarily to do. And by the way, 
we want him to feel that while he is buying 
and showing Imp pictures, he has, whenever 
occasion demands, a friend and an advisor in 
"The Implet." 

Here is the exhibitor's present danger. 
Down at Washington, they are trying to mon- 
key with the copyright law, which came into 
force on July 1st, 1909. This is a very good 
law. The writer of this article has been con- 
versant with copyright laws on both sides of 
the Atlantic for years, and is, therefore, en- 
titled to speak, and write, from practical ex- 
perience of the working of those laws. 

This is the situation: Theatrical managers 
are complaining that the picture has cut into 
their business. So it has. And for a very 
good reason: because plays generally for 
years have been so bad. So theatrical men, 
authors, etc., are starting reprisals. They are 
threatening moving picture manufacturers, 
scenario writers and the exhibitor with suits. 
Because, say these theatrical men, the pic- 
ture people steal their plots, stories and ideas. 

So far so good. 

A Congressman from New Jersey by name 
of Townsend has been put up by the Edison 
interests to graft an amendment on to the 



As a matter of fact, the copyright law, as it 
stands, does not need the slightest alteration. 
It meets every case. It protects protectable 
dramatic compositions, it protects protectable 
motion pictures. 

Mark what we say, Mr. Exhibitor, the law 
gives protection where protection is required, 
viz: in copyrightable work. 

What do we mean by copyrightable work? 

Simply that the picture, or the play, shall 
be the work of, to quote the Constitution of 
1787, "authors or inventors having an exclu- 
sive right to their respective writings and dis- 
coveries." 

Any intelligent man will, therefore, perceive 
that though a play may have been copyrighted 
it is not necessarily copyrightable. 

This applies to the majority of plays pro- 
duced to-day. 



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aft 

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They are as old as the hills, 
been done before. 



They, have all 



Solomon said several thousand years ago, 
"There is nothing new under the sun." 

And there is not. 

The theatrical men are trying to frighten the 
moving picture men. They are not going to 
do it. 

This matter concerns you, Mr. Exhibitor, 
individually as well as collectively. 

You are being frightened by the licensed 
interests on the one hand and the theatrical 
interests on the other. 

Do not allow yourselves to be threatened; 
do not be frightened. Keep your eye upon 
"The Implet." 

We shall have more to say on this copyright 
matter next week. Copyright with us is an 
old theme. 

We have helped many a poor devil who had 
been threatened with copyright proceedings of 
a fake nature. 

And we will help you. 









THE "IMPLET" 



QZi}t "3mplet" 

Th* Moving Picture Newspaper 
Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 

Published at 102 W. 101»t St., New York 

SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY. 5 CENTS 

Olympic Runners in an Imp Film 

[Release of Monday, April 8th, 
"Bradhurst Field Club, 4-mile run."] 

From a field of 337 starters, the 
largest pack that ever competed for 
cross-country honors in America, Jack 
Gleason of the Pastime A. C, with 
the aid of a handicap of one minute 
and forty seconds, pulled down first 
laurels in the big open A. A. U. han- 
dicap road run, held in the upper 
Broadway district recently, under the 
direction of the Bradhurst F. C. Thir- 
ty yards in the winner's wake came 
Rigby, of the Putnam A. C, another 
"1.40" man, who in turn led in by six- 
ty yards Halligan of the Glencoe A. 
C. Halligan claimed the prize that 
was to be awarded the first novice 
to finish, but it was not awarded to 
him, as the novice trophies were held 
up pending an investigation by the 
Registration Committee of the status 
of several of the yearlings. 

Billy Kramer, the phenomenal dis- 
tancer from the Long Island A. C, 
started from scratch, but on account 
of the big field, the excessive handi- 
caps and the fact that he had not re- 
covered from the effects of the gruel- 
ling five-mile race he ran in the Mo- 
hawk games on Saturday night, was 
able to finish only fifty-second. Bill 
did some grand running and won the 
second fast-time prize. He was 
clocked in 21.28. 

First fast-time laurels went to J. J. 
McNamara of the Irish-American A. 
C, who, starting with the short al- 
lowance of ten seconds, raced through' 
the big field and finished eleventh. 
McNamara was clocked in the great 
time of 20.46, which smashed the for- 
mer amateur figures of 21.17 for the 
course, made by Arthur Roth of the 
Mohawk A. C. a week ago. McNa- 
mara was onlv twelve seconds be- 
hind Bill Oueal's professional trail 
figures of 20.34. 

First team honors were won bv the 
five of the Mornineside A. C. which 
finished men in tenth, twelfth, twen- 
tv-third. thirtv-second and fortieth 
nlaces, keeping the tally down to 117. 
Only two points separntrd the ne^-t 
two team=. the Lonsr Lland A. C. 
with a tnllv of 157. nosinrr out the 
New York A. C. with a tally of 150 

CASTS OF THE IMP PLAYS. 

"THE SECTION FOREMAN." 

(Imp Drama. Release, Monday, April 

8, 1912.) 

Written and Produced by 

F. J. Grandon. 

Edward Eagan. . . .Farrell Macdonald 

Mrs. Eagan Florence Jerome 

Doctor Mapes E. J. Le Saint 

Mrs. Slade Edith Carnes 

"FALSE TO BOTH." 
(Imp Drama. Release, Thursday, 

April 11, 1912.) 
Written by C. B. Hoadley, Weehaw- 
ken, N. J. 
Produced by F. J. Grandon. 

Will Hinton Harry Pollard 

Will Morris Edward Lyons 

Dr. Wainwright E. J. Le Saint 

"MR. SMITH, BARBER." 

(Imp Comedy. Release, Saturday, 

April 13, 1912.) 

Written by H. Hembree. 

Produced by T. W. Walsh. 

Smith, the barber J. R. Cumpson 

Mrs. Smith Anne Taylor 

Jessie Trent Grace Lewis 

Elsie Godfrey Violet Horner 

Cyril Carson IT. S. Mack 

"A LEAP FOR LOVE." 
(Imp Drama. Release, Saturday, 

April 13. 1012.) 
Marguerite Leonard .... Ethel Wright 

Samuel Kingston Frank Cr;m<- 

Alford Lane F. R. Law 

Ralph Judson H. S. Mack 



LIKE THE IMPLET AND THE IMPS 



KEEP UP THE GOOD WORK. 

To the Editor. March 2, 1912. 

Sir: I am running Independent Films 
here in the Opera House. There are 
two other picture houses here, both 
running Association Films, and I am the 
only on? running Independent Films. I 
used the Association for two years and 
think the Independents have got it all 
over the trust, both in photography and 
acting, and in the quality of their s-rories. 
I get some Imp Films, but not enough ; 
my exchange does not buy your Satur- 
day release, and I have been writing 
them, urging them to buy the Satur- 
day release. I receive "The Implet' 
regularly and think it is great. Now 
what I want to know is there any 
way for me to buy, beg or steal a 
quantity of these Implets for dis- 
tribution amongst my patrons. I 
think the little story on the front 
cover about "80 Fifth Avenue" is 
great. Keep the good work up. We 
have got them on the trot now and 
will soon have them on the run 
which run will not be for long, for 
they will soon be run out of business. 

With best wishes for the success 
of The Imps and The Implet, I re- 
main Very truly yours, 

J. H. FARRINGTON. 

Saranac Lake Opera House, 
Saranac Lake. N. Y. 



MUCH INTERESTED. 

March 8, 1912. 
Sir: Thank you for sending me 
the copies of "The Implet." I am much 
interested. 

Wishing you every success, I am 
Very truly yours, 
JOSEPHINE CLEMENT. 
Keith's Bijou Theatre, Boston, Mass. 



"THE IMPLET" OF ADVERTIS- 
ING VALUE. 

New York, March 8, 1912. 
To the Editor. 

Sir: Let me congratulate you 
upon your excellent issues of "The 
"Implet." The illuminating articles 
upon the various phases of the mov- 
ing picture industry are not only of 
advertising value to the exhibitor, but 
make interesting and instructive 
reading for those who visit the mov- 
ing picture theatre. Might I suggest 
that "The Implet" could be used ad- 
vantageously as a souvenir to be dis- 
tributed by the exhibitors to their 
patrons? 

Your well-wisher, 

WM. I. SACKHEIM. 

105 East 14th St. 



INTERESTED IN THE IMPS. 

March 12, 1912. 
To the Editor, 

Dear Sir: Will you kindly put us on 
your mailing list? We are interested 
in the Imps; we get about two a week. 
They are fine. 

Yours truly, 

J. D. Mansfield, 
Bungalow Theatre, 
Centralia, Wash. 



CONGRATULATIONS ON 
SHAMUS O'BRIEN. 

Hippodrome Theatre, 
Auburn, N. Y., March 23, 1912. 
To the Editor, 

Sir: We wish to congratulate you 
on "Shamus O'Brien." We showed 
this picture at our nlace yesterday 
(Friday") and it broke all week-day 



records. And the day was by no 
means an ideal one either; in fact, the 
evening was somewhat stormy. In 
spite of the weather, we turned them 
away all evening. The whole city is 
talking about it to-day, and the uni- 
versal verdict is, it was the best pic- 
ture ever on exhibition in this city. 
We are writing our exchange for a re- 
turn date just as soon as they can 
give it to us and we will turn 'em 
away then the same as we did yester- 
dav. 

This letter is an appreciation of the 
wonderful work you have put out in 
this masterpiece. Give us more of the 
same and we will say: "More power 
to you." 

Respectfully yours, 

The Rochester Bowling Co., 
per W. H. Signor, Secretary. 



A CORRECTION. 

March 18, 1912. 
To the Editor, 

Sir: We have just been informed 
that you have published in your edi- 
tion dated March 9th, that we are 
handling Moving Picture hand cam- 
eras, which evidently accounts for the 
numerous renuests for particulars that 
we are receiving. We wish to inform 
you that we are not handling these 
cameras, but Mr. Geo. Bates, who has 
his office in the same building with us, 
is handling these goods. 

Trusting you will make the neces- 
sary correction, we remain, 
Yours truly, 

Carl Ernst & Co., 
154 East 23rd Street, 
New York City. 



POPULAR PICTURES OF IMP STARS 



The 

Snap 

of the Year! 



Only 

50c. 

per SET 




THE SECTION FOREMAN 



Copyright 1912 by Imp Films Company 




A humble railroad employe saves the lives of hundreds 
of passengers, while his wife is hovering 

between life and death. 4.8.12 

on the same reel BRADHURST FIELD CLUB, 4 mile run 
IMP FILMS COMPANY 



j tHREE imps 
• EVERY WEEK, 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



2^£#IMPS 
'EVERY WEEK. 



THE "IMPLET" 



PARTED BY THE SEA 

Story Founded on the Great Imp Drama Release of May 16, 1912, entitled 

THE RETURN OF CAPT. JOHN 

By THOMAS BEDDING 



i. 

He went away when the sun was 
shining and the salt of the sea was 
in the cool spring air. It was the 
last trip before their marriage. Then 
he was to leave the sea, which he 
loved as his life, for the girl that he 
loved more than his life. She saw 
him to the little boat that took him 
to the side of the ugly, black tramp 
rolling in the sea that lapped the 
shores of the village where both had 
grown from childhood to adolescence. 
All her life she never forgot that day. 
He only recalled it after two ghastly 
years. 




The Departure 

Agnes went home to her happy 
nest. Her people were prosperous. 
Her father was a lawyer; her mother 
owned real estate. 

Captain Alvin Strong, who was 
rowed off to his big tramp, was also 
prosperous in his own right, and in 
right of his position, for he had a 
share in the tramp. 

Thus there was money on both 
sides and happiness seemed assured 
for both Agnes and her Alvin, when 
he came back. 

Six days later the tramp steamer 
"Mongolian" smashed on a reef in the 
Pacific. Every soul was drowned 
but one. That one was Captain Alvin 
Strong. 

It was two years before he came 
back. 

II. 

One morning the fishermen at Apa- 
lippo discovered an object on the 
horizon line of the clear empyrean. 

Ships rarely passed that way. Apa- 
lippo was off the trading line. 

Glasses were taken out and in a 
few minutes the object was clearly 
seen and identified. 

It was a man lashed to the raft. 

The life saving boat was swiftly 
manned and put off. 

A long, easy row of four miles 
brought them to the human derelict. 

He was brought aboard uncon- 
scious and taken to the village of 
Apalippo where he was tended in the 
home of one of the fishermen. 

They restored life after tremendous 
efforts, in which strong Scotch whis- 
kv played a prominent part. He had 
suffered from suspended animation in 
an acute form. 

Alvin Strong recovered because he 
was strong by constitution as well as 
by name. When he could stand on 
his feet, could talk, eat, drink, move 
and sleep like any other rational be- 
ing, he faced a loss of which he was 
not fully conscious. 

He had losl his memory. 



III. 

Alvin Strong became that wonder- 
ful object of sympathy, the man 
without a past. He did not know his 
name; where he came from; what 
had befallen him. All he could think, 
feel and say was that recently in his 
life something in the nature of a 
great catastrophe had happened to 
him. 

He could not describe it; he could 
only realize that life with him until 
he sat up in the fisherman's house was 
a blank. 

He had never lived; he had never 
had an existence until the kindly fish- 
erman took him in, fed him, clothed 
him, tended him, comforted him, and 
when he was strong enough, gave him 
a job. 

He became one of them. 

Apalippo took to itself a new mem- 
ber of its exclusive colony. That col- 
ony supported itself by the harvest of 
the sea. 

A plentiful harvest, which San 
Francisco and other large cities read- 
ily bought, enabled small Apalippo to 
thrive in a modest and seemly man- 
ner. 

IV. 

There was nothing on the spar to 
which Alvin Strong was lashed to 
identify him with the ill-fated "Mon- 
golian." Apalippo, in fact, had not 
heard of the wreck; there were no 
inquiries for Alvin. The "Mongo- 
lian" had been reported lost with all 
hands. 

His father and mother gave him up. 

Everybody gave him up. 

Except Agnes. 

Day by day for weeks and months 
the girl went down to (he shore. 
Hope was in her heart that even 
though the "Mongolian" had been 
lost with all on board Alvin had been 
spared for her. 

She refused to believe him dead; 
she could not believe him dead. He 
had lived for her and was to live for 
her. So he was to come back. 

Never for a moment did her faith 
falter; Alvin was to come back to her. 

Thus weeks and months passed ere 
the girl gave up her daily pilgrimage 
to the shore. 

But gradually the pilgrimages les- 
sened; then they stopped almost al- 
together. 








The Return of Capt. John 

But Agnes never lost hope. 

A woman never loses hope that her 
first and only lover will come back 
to her some day, somewhere, some- 
how. 



She may marry somebody else, but 
if she has really and truly loved the 
man she does not marry, though she 
may keep the secret to herself, she 
yet looks for the time she is to meet 
her first and only lover, either on this 
earth or in some other world. 

Every woman knows that what I 
am saying here is gospel truth. 

V. 

Alvin Strong became Paul Ferrar. 
One of the fishermen gave him the 
name and it stuck to him. He took it 
because he had no other. 

Paul thrived; the sea was his life, 
and it gave him life. And in giving 
him life it gave him human interest. 

Paul was so human that in course 
of time he found himself in love 
with the bright-haired daughter of 
Mark Battle, to whose house he was 
taken when he was released from the 
raft. 

Ellen Battle returned Paul's love. 
She was a beautiful, unconventional 
girl with a mind as pure and fresh as 
crystal. 

A marriage such as this could re- 
sult but in one w;i", that of perfect 
happiness. In time the prettiest lit- 
tle baby on the coast brought happi- 
ness into the Ferrar home. 

You would have searched over a 
long, wide expanse of country to find 
a happier home than the Ferrar 
household. 

VI. 

One day Paul was a member of a 
crew that set out for distant parts 
with the hope of exploring new fish- 
ing grounds of which report had 
spoken highly. They had to make 
a sailing trip hundreds of miles 
around the coast. And when they 
dropped anchor, Paul and his crew 
went ashore. There was a girl sit- 
ting all alone looking out to sea. The 
day was bright and clear just as it 
was when Alvin Strong went away 
two years before. 

As the group of fishermen ap- 
proached, an expression of wonderful 
surorise sprang into the girl's face. 
Agnes' faith had been rewarded. 

1 lure was her Alvin coming back to 
her, as she knew he would come back! 

Me was bigger; stouter; he was 
bronzed; he was dressed as an ordi- 
nary fisherman. 

What did that matter to her? She 
liked to see him in the old days in 
his trim captain's uniform with his 
gold braid and neat cap with the 
monogram of the "Mongolian" on it. 
But those things, after all, did not 
matter. It was Alvin she wanted, no 
matter how he was garbed. 

She believed he would come back 
and here he was. The happiness for 
which she had so patiently waited 
was hers at last. 

Would not the old people be glad. 

Would not the entire town rejoice 
that Alvin had returned. 

Oh, yes, Alvin had returned. Every- 
body knew of it before he got off the 
shore with the delighted girl by his 
side. 

Alvin had come back. 
VII. 

\ i . y\lvin had come back after 
two years. 

But — what was the matter with him? 
He stared at Agnes in a smiling, vacant 
manner. He was civil and polite to 
her. 

He was civil and polite to every- 
body, but he did not know them. 

When they called him Alvin there 
was an expression of pained surprise 
on his face. 

Then he smiled. 

Smiled at them all; smiled at every- 
body and everything in the town as 
he walked up. 



"Some strange people these," he 
said to one of his crew. He had come 
with them, he explained, to look into 
the proposition of moving part of the 
Apalippo fishing fleet there as the 
grounds were running so heavily with 
fish. 

Agnes Thompson? No! He had 
never heard of her before. But he 
was pleased to meet her. 

Mr. and Mrs. Thompson? No, he 
had never heard of them. 

Never heard of anybody there be- 
fore; never was there until that day 
for the first time in his life! 

Honest to God, they were all mak- 
ing a mistake. He was an Apalippo 
man. 

Had been all his life. 

A mistake, a mistake! 

VIII. 

But the anguished girl did not give 
up hope that her Alvin would recog- 
nize her. Amidst the pitying gazes 
of the townsmen she led Paul into 
the home where he and she in the old 
days, before he went away, had sat 
and crooned so often and so long. 

It was in that very room, before he 
had set out on the last fatal trip of 
the "Mongolian," that he had given 
her a locket with his portrait in it. 




•^L.. k^£ Parted by the Sea 

As a last desperate effort Agnes 
produced the locket and put in into 
the hands of the strange smiling man 
who looked so surprised at finding 
himself inveigled into the Thompson 
home. 

Then lie looked at the locket and 
the picture in it. 

Looked at it long and fixedly. 

When he lifted up his head it 
seemed as if an opaque curtain had 
been drawn aside from his mind — 
something which had hitherto inter- 
posed itself between his present and 
his past. 

Then he saw that the girl before 
him was the girl he had left on the 
shore two years ago. 

* * * * * 

The cold, slow, deadly true manner 
in which Alvin told the girl of what 
he had done as Paul Ferrar, and what 
he was bound to own to as Alvin 
Strong produced its effect. 

Not a cry, not a sound, escaped 
through the clenched teeth and whit- 
ened lips of the stricken maid! She 
dropped to the ground dead! 

Apalippo fishermen never knew why 
it was that Paul Ferrar gave the or- 
der to return home at once, and think 
no more of interesting themselves 
in other fishing grounds. 




FALSE TO BOTH 



Copyright 1 912 by Imp Film* Company 



















- , 





The story of a girl who deceives two men, marries the 

third, and thus enables the two rejected suitors 

to become firm friends. 



4-11-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



%BBE£ IMPS 
'EVERY WEEIC, 



THE ADVENTURES OF MR. AUflOST BUTT 

CopvnfiKt 1912 Cblt\ Lat>mmlo 7 



Copyngkt 1912 Carl Laemmle 



He ALMOST Gets a Great Moving Picture This Time, BUT 




"HERO" LEAPS OFF 

BROOKLYN BRIDGE 



Parachute Helps Him Escape in Mov- 
ing-Picture Play. 

From the New York "Times" 

Another dramatic episode in a mov- 
ing-picture play was successfully car- 
ried out on the Brooklyn Bridge re- 
cently, when Frederick R. Law, the 
young man who jumped from the 
Statue of Liberty with a parachute, 
dropped from the center arch, 133 
feet, into the East River, where a 
tug was waiting to pick him up. 

About 2.30 o'clock, when there were 
only a few pedestrians on the bridge, 
two yellow taxicabs drove across 
from the New York side at high 
speed. In the first was the hero, try- 
ing to escape from the villain of the 
piece, and his helpers in the second 
taxi. In the center of the bridge the 
leading cab stopped suddenly, and 
the hero, clad in a bathing suit and 
with a parachute strapped to his waist 
and shoulders, got out, and climbed 
through the opening in the railing. 

The tug Fred B. Dalzell, Jr., was 
waiting close up to the bridge to res- 
cue the hero when he hit the water, 
which he did with a loud splash, 
the parachute having opened with- 
in fifty feet of the surface of 
the river, which was full of float- 
ing "ice. The strong wind caught 
the parachute like a sail, and carried 
the hero along with it. If he had not 
been rescued quickly he would have 
been drowned, according to Capt. A. 
Brady, who was in the pilothouse of 
the tugboat. 

The hero had some hot coffee with 
a dash of brandy in it, and when the 
tug arrived off Pier 8, East River, he 
dived into the water, and swam to the 
shore, where his faithful followers as- 
sisted him to land amid great cheer- 
ing. That was the end of the act, as 
the hero was supposed to swim from 
the bridge to the shore. 

Law did not seem any the worse 
for his leap. 



[The incident described above fig- 
ures in the Imp drama, "A Leap for 
Love," released Saturday, April 13th.] 



WHAT THE "LONDON BIOSCOPE" 
THINKS OF US. 

We expect our readers will have 
already seen the first few numbers 
of "The Implet," the little house-or- 
gan issued by Mr. Carl Laemmle, the 
enterprising head of the Imp Films 
Company. In the No. 4 issue we no- 
tice an appreciation of Mr. J. F. 
Brockliss, of whom several kind 
things are said, together with a view 
of 4, New Compton Street. Friend 
Laemmle is certainly a hustler, and 
his latest advertising scheme should 
prove a remunerative one. 



No. 1 of "The Implet" is very 
scarce. We need a few copies for 
subscribers anxious to preserve sets of 
the publication. We will thank any 
of our readers, who have spare copies 
of No. 1, to send them on to us. 



"A NEW MOVING PICTURE" 
PUBLICATION. 

The latest arrival in the field of mo- 
tion picture journalism is a weekly — ■ 
"The Implet" — which is edited by the 
able hand of Thomas Bedding. It is 
to be made world-wide in its appeal 
and scope, and it is the desire of the 
editor to make it the most attractive 
moving picture publication in exis- 
tence. "The Implet" is published at 
102 West 101st street, New York City. 
-"Abels Photographic Weekly." 



By oversight in our last issue the 
direction of the comedy, "THE 
CHEF'S DOWNFALL," was attrib- 
uted to Mr. Otis Turner. The pro- 
ducer was Mr. Farrell Macdonald. 



MOVING PICTURES A LENTEN 
DIVERSION. 

A Lenten diversion arnon? Milwau- 
kee's smart set, but which has not re- 
ceived much publicity, is the moving 
picture parties. Those who are keep- 



ing Lent and still long for a bit of life 
in the midst of their devotions, are 
giving these parties. There are 
eight or ten women and young girls 
and they are invited quite properly 
to an educational afternoon. After 
arriving at their hostesses' house, they 
are taken to the various moving pic- 
ture houses, it being quite easy to 
visit three in an afternoon. Indeed, 
some of these parties start at 10 a. 
m. for the first performance of the 
shows. Many of these films are edu- 
cational, but there is ofttimes a grain 
of spice injected into them, too, to 
make them attractive. Lenten mov- 
ing picture parties are the thing. 



AN OLD SHIP IS IN DEMAND 

FOR MOTION PICTURE 

PLAYS. 

Old ships that have gone down to 
the sea on their last voyage need not 
rest in the "boneyard" longer. They 
can be money-makers without the 
necessity of seeking a charter or the 
trouble of hunting a crew out of a 
dozen sailors' boarding-houses; and 
they need not put to sea at all, or, if 
thev do, only for a day's voyage on 
the Pacific main in the company of a tug. 

The ancient bark "Alden Besse" has 
saved herself from the fate of being 
converted into a coal hulk or con- 
demned to disuse forever. To-day 
at San Diego, Cal., she is the most 
sought after ship in southern waters. 
The motion picture concerns all want her. 

Already the still stately old wind- 
jammer has borne the brunt of half a 
dozen "piratical" attacks by "sea rov- 
ers" of the most savage mien. Her 
decks have been the scene of san- 
guinary battles for lovely women and 
a half dozen "commanders" have 
bravely walked the plank and been 
quickly rescued by San Pedro boat- 
men with an eye to business. 

Fler owners say she never will be 
converted into a coal barge as long 
as her popularity with the film people 
lasts. 



MOVING PICTURE INVEST- 
MENTS. 

From the "Review of Reviews." 
It has come to be a battle of money 
and brains, the theatrical managers 
on one side and the film manufac- 
turers on the other. The former are 
in the position of untenability in that 
they are seeking a solution of their 
problems, whereas the newer inter- 
ests—the moving picture men — have 
solved their initial problems and are 
now engaged in improving their en- 
vironment and raising the standard of 
their offerings. The number of the- 
atrical uroducers is now the smallest 
iu twenty-five years, while the moving 
picture magnates are yearly increas- 
ing. A dozen different manufacturers 
have a canital of more than a million 
dollars each. The Cines Company, of 
Rome, has ten millions invested, the 
Kinemacolor Company has six_ mil- 
lions, and the same total is available 
to the Pathe Freres, of Paris and New 
York. 



FILMS BANKRUPT GERMAN 

THEATRES 

Bad State of Things on the German 

Stage — Royal Opera House an 

Offender. 

Berlin, via Glace Bay, March 19. — 
The theatre managers and dramatists 
have declared war against the mov- 
ing picture shows for which the peo- 
ple have been deserting the theatres. 
At a meeting of actors and dramatists 
in Berlin to-day Ludwig Fulda said 
that in consequence of the competi- 
tion of the moving picture shows the 
120 theatres in Germany would soon 
be hopelessly bankrupt. 

There is a law in force now which 
restricts the cinematographs, and the 
managers and dramatists are looking 
for further legislation on this sub- 
ject. The announcement that the new 
Royal Opera has granted the rights 
for the summer season to a Parisian 
film company has aroused angry pro- 
tests. 



MR. SMITH, BARBER 



Copyright 1912 by Imp Films Company 



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The barber schemes to obtain freedom for a time from his 

daily work but is unlucky enough to rouse the 

suspicions of his wife, who runs him to 

earth and leads him captive home. 4.13.12 

On same reel A LEAP FOR LOVE 

IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



THE "IMPLET" 



"We Are Seven' 




Stockholders 



{By Carl Laemmle) 

I'll bet the Imp has the most unusual set of 

stockholders you ever heard of. There are seven of them, 

including myself, and not a single one has ever shown any desire to get rich quick, 
or even a desire to try it. Every one of them is building for the future all the time. 
Every one of them is inspired with an earnest desire to show the world that 
success in the moving picture business can be gained without soiled hands. They 
look forward to the time when 'moving picture manufacturer" will be a term of 
respect, rather than one of contempt and opprobrium. 

With that sort of people behind me, I could 

fight the very devil himself; and there have been times 

when I imagined the very devil himself was my opponent. The unanimous 
attitude or platform of the Imp stockholders is this: 'Let's win the confidence of 
the exhibitors by earning it. Let's earn it by doing the best we know how., regard- 
less of the cost in money, time or trouble. With the power of the exhibitors 
behind us, we can lead the way to a safe and sane future for them, as well as for 
ourselves. " 

We think we've done what we set out to do. 

We think we've won your confidence hy earning it. It is 

because we believe this that we ask you, man to man, to demand three Imps 
every week. Thafs the only way you can help us — by demanding three Imps a 
week, and getting them. Pay a fair and square price, but get three. Imps every 
week. The more you strengthen us in this way the more you strengthen your- 
self — because you are strengthening a set of men who are pledged to look after 
your interests. The Imp stockholders who depend upon you for their living are 
plain folks. There isn't a cold-blooded corporationist in the whole list of Imp 
stockholders. They're working like beavers to give you the best in the world — 
but they want you to help by fighting until you actually g?/ what they are produc- 
ing for you. 

( Next weefc s ins tall?ne?it: " Your Exchange." ) 




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COPYRIGHT AND THE EXHIBITOR 



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Every exhibitor should provide himself with 
a copy of the United States Copyright Act. 
It is published at Washington by the Govern- 
ment Printing Office and costs 10 cents. 

The copyright act, if carefully read, will 
tell him where he stands in regard to a con- 
stant danger by which he is assailed. 

Since the appearance of the first article un- 
der this caption, the motion picture and the- 
atrical interests down at Washington got to- 
gether and have agreed upon the substance 
of an amendment to the copyright act limiting 
the amount of the recoverable penalties in 
case of infringement. As matters stood, the 
moving picture exhibitor, and it is in his in- 
terests we are writing this article, would be 
fined an enormous sum of money if he exhibited 
a duped copyrighted picture. Now the amount 
of the fine is limited. 

The new bill provides that where an in- 
fringer shows that he was not aware that he 
was infringing and could not reasonably have 
seen that the infringed work was copyrighted^ 
the damages shall not exceed the sum of 
$5,000. 

The people who agreed to this amendment 
on the bill were the Patents Company party, 
theatrical managers, and others. They calmly 
ignored the existence of the independent man- 
ufacturers; they left the exhibitor entirely out 
of account. 

The bill is, of course, not yet law: the pro- 
posed alterations are not very important from 
the exhibitor's standpoint, so we let it go at 
that. 

This is where the exhibitor is affected: He 
is liable to be pounced upon by unscrupulous 
film and theatrical people for an offense of 
which he is not guilty. In other words, the 
greater number of the so-called copyrighted 
plays, scenarios, etc., are not really copyright- 



able at all, i.e., they have ail been done before: 
therefore, nobody to-day has an exclusive right 
to them. 

It is a common experience of film manufac- 
turers to be threatened with suits for infringe- 
ment of copyright where no copyright exists. 
Very often rather than go to the trouble of de- 
fending a suit the manufacturer will prefer to 
submit to a species of blackmail. 

The copyright on most classical pictures has 
run out. Anybody can make a motion picture 
on the subject of "Hamlet," by Shakespeare; 
or on "Paradise Lost,*' by Milton; or on the 
"Inferno," by Dante: or on "Uncle Tom's 
Cabin"; the copyrights on all these have long 
since expired. 

Let the exhibitor bear this in mind. 

There is a most successful play on Broad- 
way, New York City, at this moment, which 
is probably copyrighted. It is possibly not 
copyrightable — that is to say, not original with 
the author. Anybody familiar with the annals 
of the stage knows that plays are being pro- 
duced to-day almost the exact copies of those 
produced twenty years ago. Both cannot be 
copyrightable. 

It is the same with motion picture stories. 

In writing this second article on the sub- 
ject, we want specially to warn the exhibitor 
against the probable danger of threats from 
theatrical managers, licensed film makers, and 
others. Let them pay no heed to such threats. 

Let them keep cool. 

Let them write to us on the subject, should 
the question arise, and we will put them wise 
as to the exact status of so many pictures 
which are claimed to be copyrighted, and may 
net be. 






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Five Great Forthcoming Imps 



Thursday, April 18 
Monday, April 22 
Thursday, April 25 
Thursday, May 16 



-WOMAN ALWAYS PAYS (2000 feet) 
-A MILLIONAIRE FOR A DAY 
-THE LOAN SHARK 
THE RETURN OF CAPT. JOHN 



Thursday, May 30— THE PERIL (Decoration Day Picture) 



Drama 

Comedy 

Drama 

Marine Drama 

War Drama 



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THE "IMPLET 



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Qfyt "3lmplet 

The Moving Picture Newspaper 
EdiUd by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 

Published at 102 W. 101»t St., New York 

SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY. 5 CENTS 

THE LATE J. P. CHALMERS. 

No. 12 of "The Implet" had gone to 
the printer's before the news came of 
the tragic end of J. P. Chalmers. I was 
shocked, but not surprised at the man- 
ner of his death. His mode of_ life 
was ever of the utterly unconventional 
kind ; it was a tolerable certainty that 
it would end in an unconventional man- 
ner. 

Everybody must regret that _ he did 
not live to enjoy the profit of his work. 
His work was the business of making 
the "Moving Picture World." "J. P." 
was a practical printer. He could set 
the type, buy the paper, print and dis- 
tribute the publicavior . 

He took up photography some years 
ago and applied his knowledge as a 
printer to photographic magazine mak- 
ing. Then, when in the employment of 
the Scientific American— a little more 
than four years ago — he saw as a pho- 
tographer the possibilities of the mo- 
tion picture. Photographers were, and 
are, the best people to appreciate these 
possibilities. 

So Chalmers got out the "Moving Pic- 
ture World," and through all its four 
years of vicissitudes stuck to it with 
characteristic Scotch tenacity. 

I am genuinely sorry that he died so 
early, because, according to his lights, he 
worked hard both for his paper and for 
the cause which he aspired to espouse. 

Chalmers and I differed, as the Eng- 
lish and Scotch are bound to differ. They 
have been differing for centuries ; they 
will differ to the end of time. What I 
admired in him was his doggedness. He 
meant at any cost to make the "Mov- 
ing Picture World" an apparent success. 
He succeeded in his object; and, there 
fore, must be adjudged all the credit of 
success. 

Personally "J. P." had many lovable 
traits. He was good-natured and free- 
handed. But coming from a very re- 
mote part of Northern Europe and be- 
ing a member of a very exclusive little 
cast, he failed to make himself under- 
stood by the majority of people whom 
he met, and equally so did not under- 
stand them. So he always led an aloof 
life. 

A strong feature of his character was 
his devotion to his parents and relatives. 
to whom the sympathy of "The Implet" 
is tendered in "their bereavement. 

"J. P." will be kindly remembered 
as a pioneer in the branch of work he 
selected for himself. Many men in the 
moving-picture business should be grate- 
ful to him for the help and advice he 
gave them. 

Rest in peace, "J. P." ! T. B 

CASTS OF THE IMP PLAYS. 
"RESCUED BY WIRELESS." 

(Imp Drama. Release, Monday, 
April 15, 1912.) 

Ralph Morton Wm. E. Shay 

Grace Langdon Lottie Smith 

Consul Grant H. S. Mack 

Gen. Miro Farrel Macdonald 

Anthony Stone J. Harvey 

"WOMAN ALWAYS PAYS." 

(Imp Drama. Release, Thursday, 
April 18, 1912.) 

The Woman Asta Nielsen 

The Man Leopold Kopt 

The Circus Man Rudolph Gensen 

Asta's Rival Selma Bjornsen 

Innkeeper P. Hansen 

Leopold's Mother Mrs. Kopt 

Leopold's Father Pastor Kopt 

"LONESOME MISS WIGGS." 

(Imp Comedy. Release, Saturday, April 

20, 1912.) 

Written by Otis Murphy. 

Produced by F. Thompson. 

Miss Wiggs Grace Wilson 

Krautzmeyer J. R. Cumpson 

Mrs. Dippel Isabel Cherry 

Hans Krautzmeyer. . . Master Joe Moore 
Hugo Krautzmeyer, 

Master Matthew Roubert 
A Tramp H. S. Mack 



A MILLIONAIRE FOR A DAY 

(Imp Comedy of April 22) 



The most-talked-of moving picture in 
the making that has so far been sched- 
uled for release in the annals of the Imp 
Films Company, and every other com- 
pany everywhere, is "A Millionaire for 
a Day." 

It will be released on Monday, April 
2.2 — just the picture for Monday even- 
ings, when after the trials of the early 
part of the day which follows the day 
when we rest too much, eat too much 
and over-do many other things too much 
and suffer therefor — we are approaching 
the normal and are feeling good again. 

Monday night is the favorite night for 
Imp fans in particular and moving pic- 
ture fans in general. All of them could 
not do better than to spend Monday 
evening, April 22, in looking at this pic- 
ture. 

Probably nearly a hundred per cent, 
of the inhabitants of this globe ask 
themselves some time in their lives what 
they would do if they were suddenly 
enriched to the point of millionairedom. 
We know that "Brewster," in a play 
named after him, found the greatest 
difficulty in spending a stipulated sum 
of money in a stipulated space of time. 
The thing became mechanically irk- 
some. 



He soon tired of his job. 

Now, Fred Dudley was suddenly ask- 
ed down at Wilkes-Barre what he would 
do if he became a millionaire. More 
than that, he was just as suddenly given 
an opportunity of applying the theory 
to practice. He got the stuff handed to 
him all at once in the shape of a legacy, 
which he could go to bank and draw 
right away. 

Just imagine this humble and greasy 
toiler in a machine shop suddenly made 
rich. 

What did he do with it? 

What were his first thoughts on the 
announcement that the legacy was made 
to him? 

How did he get hold of his money? 

How did he proceed to spend it? 

First of all 

Well, first of all ? 

But we won't anticipate a single inch 
of this film, which is brimful of in- 
terest from first to last. 

Fred Dudley, according to his lights 
did what the majority of men in his 
position would have done. 

He started out for a jolly good time. 
and he had the good time. 

And so did the real man from Wilkes- 
Barre, who came to New York some 



weeks ago, have a good time as a tem- 
porary millionaire, and then went home. 

The Imp Films Company, in the char- 
acter of Fred Dudley, who paints little 
old New York a very bright red for 
twenty-four hours, pays a devil of a 
price for his fun and then goes back to 
work, have endeavored to, and we be- 
lieve have succeeded in humanizing this hu- 
man story. 

Mr. Exhibitor, get this film ! 

It is a film which we have made espe- 
cially for men along way off. It is a 
picture for the masses — the multitudes, 
who do not know what life in great 
cities is. 

This picture shows them what it is ; 
possibly slightly exaggerated here and 
there, but still true to life. 

This "Millionaire for a Day" picture, 
then, has three claims to notice. It is 
founded on fact; the story is well told; 
J. R. Cumpson is the millionaire ; and 
then, above all things, it is illustrative 
of the palpitating phases of existence 
in the greatest city on the face of the 
earth — New York. 

Get the picture ! 



POPULAR PICTURES OF IMP STARS 



Only 

50c. 

SET 




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RESCUED BY WIRELESS 



Copyright 1912 by imp Films Company 



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The story of a young American girl placed in peril in Mexico 
during revolutionary times and rescued by a wire- 
less message sent by her lover. 



4-15-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



, sff/mE IMPS 
,fVEM WEEK- 



THE "IMPLET" 



THE DAYTON CONVENTION 



The convention of the Motion Pic- 
ture League of Ohio was held on Tues- 
day and Wednesday, March 26th and 
27th. Present at that convention were 
representatives of the Motion Picture 
Exhibitors of nearly every State in the 
Union, together with members of similar 
organizations in West Virginia, Indiana 
and elsewhere. 

The first day of the convention was 
spent in sight-seeeing theatre parties 
and a banquet at the Hotel Algonquin. 
The executive officers held a secret ses- 
sion and prepared their reports, and a 
general discussion was held relative to 
the welfare of the exhibitors throughout 
the State. 

State President Neff, of California, 
who is also president of the National 
organization, presided at the session and 
took occasion in his annual report to 
point out the good work being carried 
on along the lines of organization in all 
parts of the country. He expressed the 
belief that the time was not far dis- 
tant when every State in the Union 
would be enrolled under the banner of 
the National organization. President 
Neff said that the moving-picture or- 
ganization could not be used by schem- 
ing politicians. He said that attempts 
had been made at various times to make 
out of it and use it for the promotion of 
some man's selfish political fortunes. 

"But in these things the schemers have 
ignominiously failed," he said. "We are 
organized not for political purposes, 
but for the purpose of disseminating 
knowledge among the industrial classes 
and affording amusement to all." 

President Neff made a report : "I 
was determined to watch closely all pro- 
posed legislation which threatened to be 
inimical to the legitimate interests of 
the motion-picture men." Chairman 
Weaver, of that committee, however, 
stated that he found little disposition on 
the part of Ohio to harass them in busi- 
ness. "On the contrary," he said, "there 
is a disposition to encourage the enter- 
prise." 

The recommendation that a Federal 
censor board be appointed was advo- 
cated by the entire league. It was sug- 



gested that such a body might be ap- 
pointed by Congress or the President, or 
that a law be passed in each State au- 
thorizing the Governor to appoint a cen- 
sorship board. The national officers 
strenuously objected to police depart- 
ments being authorized as censors of ar- 
tistic and moral pictures, and also be- 
lieve that the exhibitors should be con- 
sulted. 

While the morning session was not 
open to the public and was held behind 
closed doors, it was learned that the 
Sunday closing and other matters of 
similar import were discussed. Each 
member of the convention was reported 
to have volunteered to do all in his 
power to procure such legislation as 
will open the doors of the moving-pic- 
ture theatres in cities in all parts of the 
country on Sunday. 

Charles Johnson, of Washington; J. 
M. Kaufman, of Gallipolis, Ohio, and J. 
A. Maddox, president of the Columbus 
local, supported the stand taken by 
Mayor Tynes, of Portsmouth, Ohio, and 
said they could see no reason why the 
authorities should close the theatres on 
Sunday when harmless and educational 
pictures are shown. 

Reports showed that there are ap- 
proximately 1,100 picture theatres in 
Ohio and 16, 000 in the country. Cincin- 
nati has 86 playhouses, Cleveland 125, 
Toledo 40, and Dayton 31. President 
Neff reported that eleven State organiza- 
tions are now affiliated with the national 
association, and that he hopes to have 
eleven more affiliated before the next 
national convention, which will be held 
in Chicago in August. 

Toledo, Ohio, was the city chosen at 
the closing session of the convention 
as the place for the holding of the next 
State convention on July 16th and 17th. 

The executive committee of the Na- 
tional Association, which also met here 
this week, received applications for 
State charters from New York, Buf- 
falo and Binghamton, but definite action 
was postponed. Charters, however, were 
granted to Kentucky, Missouri and the 
District of Columbia. 



Loan Sharks Criminals In The Eyes Of The Law 



Every "loan shark" is now a criminal 
in the eyes of the law, according to a 
decision returned by the New York Ap- 
pellate Division of the Supreme Court, 
Second Department, recently, and the 
question of winding up their affairs is 
declared to be merely one of how fast 
the District Attorneys here and in 
Brooklyn care to act. 

To make sure that the District At- 
torneys shall have plenty of material 
to work on, lawyers representing the Sage 
Foundation declared, upon hearing that 
the decision had been returned, that they 
would immediately move to bring about 
the indictment of every loan shark in 
New York City. 

In addition to obtaining fresh indict- 
ments, the Sage Foundation's lawyers 
will proceed with the prosecution of 
cases which have passed through the 
preliminary stages and have been held 
up pending the Appellate Division's de- 
cision. 

The decision against the loan sharks 
was written by Justice Hirschberg and 
Justices Jenks, Thomas, Woodward and 
Rich concurred in it. 

A company was selected by the Sage 
Foundation to test Section 614 of the 
State banking law, which makes it a 
crime to loan money at a rate of more 
than 6 per cent, per annum. The com- 
pany was convicted in the Court of Spe- 
cial Sessions in Brooklyn on May 21, 
1911. At the trial it was brought out 
that the defendant company had made a 
loan of $25 to a borrower. For this 
loan it had charged him interest at 
the rate of 6 per cent, and fees amount- 
ing to $16.10, the fees being ostensibly 
for services as brokers in obtaining the 
loan from some unmentioned third party. 

The contention of the defendant was 
that the fees were a proper charge and 
did not constitute interest and that Sec- 
tion 014 of the banking laws was re- 
pealed by the enactment of a penal code 
amendment in which it was stipulated 
that the taking of more than six per 
cent, interest was not criminal unless 
security had been provided. On these 
two points the decision of the Appellate 
Division says : 
"The language of the sta'ule indicates 



clearly that where the loan is for less 
than $200 at more than the legal rate 
of interest the giving of security is not 
a necessary element to the crime. The 
plain purpose of the act was to protect 
the needy from extortion, and the Legis- 
lature in accomplishing that purpose lim- 
ited the protected class to small bor- 
rowers. The purpose of the clauses 
in the banking law ami the penal code 
is complimentary, and they are harmoni- 
ous rather than inconsistent. One es- 
tablishes the general rule ; the other 
exempts a certain class from the hard- 
ships that would result were the whole 
rule universally applied. 

Walter Heilborn, a lawyer represent- 
ing the Sage Foundation, said that the 
decision, in his opinion, was the most 
far-reaching one yet obtained. It gives 
the prosecuting officers for the first time 
an opportunity to reach beyond the de- 
fenses which have been thrown up by 
the money lenders for the last fifteen 
years, he declared. 

"At last we have forged a weapon 
for the prosecuting officers," he said, 
"and it will be interesting to see what 
the officers are able to do with it. By 
prosecutions which we shall undertake 
at once we believe we shall be able to 
make the first serious inroads against 
the loan shark business, a business best 
described by Judge Jones in the Fed- 
eral Court in Alabama when he said it 
made its victims 'absolute serfs in every- 
thing except name.' " 

The Sage Foundation's loan office, 
which charges twenty-four per cent, per 
annum, was organized under a special 
section of the banking law allowing cer- 
tain philanthropic or quasi-philanthropic 
corporations to charge that rate. Arthur 
Mam, in charge of the Foundation's loan 
shark crusade, said that the twenty-four 
per cent, rate would be dropped as 
rapidly as the business would permit, 
and that it was fixed at the estimated 
cost of conducting the business. He said 
that the present loan sharks could in- 
corporate under the same section of the 
law if they consented to accept twenty- 
four per cent, a year instead of the 
charges of from 80 to L80 per cent., 
which they now exact. 



CARL LAEMMLE AT THE OHIO 
CONVENTION. 

(From "The Dayton Journal.") 

A most noteworthy event was the 
presence of Carl Laemmle, head of the 
Imp Films Company, of New York, Mr. 
Laemmle, in an exclusive interview, hit 
straight from the shoulder on matters 
pertaining to cinematography. This is 
the first convention of its kind that he 
has ever attended by this power of inde- 
pendent picturedom, and he was an ob- 
ject of much attention. Mr. Laemmle 
said : 

"I congratulate the Ohio exhibitors 
in getting together, and also on the 
fact that it is not only a state conven- 
tion, but in reality a national conven- 
tion. 

"As every one knows, I started in 
business as an exhibitor and can sym- 
pathize with their views. Good pic- 
tures are an uplift to the industries. To- 
day the manufacturer cannot exist with- 
out the support of the exhibitors. The 
manufacturers depend upon the exhib- 
itors for information. 

"I believe exhibitors should be inde- 
pendent and exercise the right of select- 
ing their own pictures. It is to the ex- 
hibitors' associations that we must look 
to the exercise of the best influence in 
the motion picture business. It should 
be the business of the state and national 
associations to carefully watch all legis- 
lation. 

"Independence means a whole lot. It 
can influence both patrons and pub- 
lic. I think the exhibitor should do 
more to influence exchanges to secure 
the very best pictures to be had." 

Regarding the alleged investigation of 
the United States Government into the 
trust propensities of the license forces, 
Mr. Laemmle said : 

"This investigation does not affect in- 
dependence. Vv e don't take the attitude 
of the patents company. We attend to 
our own business, perhaps a little more 
so than they do. 

"The Independent output has improved 
a hundred per cent. The competition 
between Independent companies has im- 
proved in quality. 

"The moving picture is going to edu- 
cate millions of people who have never 
before attended a theatre of any kind. 

"I never tire of seeing moving pic- 
tures, and eventually the big houses will 
educate the people in the industry as well 
as the smaller theatres. 

"To cater to the demand for more 
lengthy film drama, we are now figur- 
ing on 2,000 and :i,000 feet of picture 
films regularly." 



LIST OF THE INDEPENDENT 
MANUFACTURERS. 

American Film Manufacturing Co., 
Ashland Block, Chicago, 111. 

Carlton Motion Picture Labora- 
tories, 540 W. 21st St., New York City 

Champion Film Company, 145 W. 
45th St., New York City. 

Comet Film Company, 344 E. 32nd 
St., New York City. 

Eclair Film Company, Fort Lee, 
New Jersey. 

Imp Films Company, 102 W. 101st 
St., New York City. 

Lux Film Company, 10 E. 15th St., 
New York City. 

Majestic Motion Picture Company, 
145 W. 45th St., New York City. 

Nestor Film Company, 688 Avenue 
E., Bayonne, New Jersey. 

New York Motion Picture Com- 
pany, 251 W. 19th St., New York City. 

Great Northern Film Company, 7 
E. 14th St., New York City. 

Powers Motion Picture Company, 
511 W. 42d St., New York City. 

Republic Film Company, 145 W. 
45th St., New York City. 

Rex Motion Picture Company, 573 
Eleventh Ave., New York City. 

Solax Company, Congress Ave , 
Flushing, Long Island. 

Thanhouser Company, New Ro- 
chelle, New York. 



"JUST THREE-A-WEEK." 

(With T. B.'s apologies to H. W. 

Longfellow.) 
The shades of night away had passed; 
'Twas day; the sun was shining fast 
As through the streets there walked a 
a Gink 
Who cried aloud — now watcher 
think? 

"That Three-a-Week!" 

His brow was calfn; his eye beneath 
Flashed like a sword from out its 
sheath; 
And, like a big brass trumpet, rung 
The accents of that nifty tongue: 
"My Three-a-Week!" 

In every home he saw that night 
Nice comfy fires so warm and light; 

Above the twinkling starlits twinked 

So this same Gink he thusly ginked : 

"Your Three-a-Week !" 

"Go home to sleep," an old man said, 

"Ain't it time you was tucked in bed? 
You gotta git up at six A. M." 

But the Gink he roared : "Oh you be' 
dem." 
"Our Three-a-Week!" 

"O stay," a sweet girl said, "and rest 
Your curly head upon this breast." 

He fixed her with his glittering eye, 
And thus that Gink he made reply : 
"Their Three-a-Week!" 

"Beware the roadhouse at the turn; 
Their whiskey makes your tongue- 
let burn." 
This was the Gink's one last goodnight; 
His voice resounded sharp and bright: 
"His Three-a-Week!" 

At break of day the village cop 

Meandered around the old hill top 
And woke the slumbering Gink, who 
screamed 
The mystic words of which he'd 
dreamed, 

"Her Three-a-Week!" 

A traveller in the frozen North 

One day to shoot the bear went 
forth. 
"Don't shoot!" a strange, mad thing 
remarked, 
"For the Arctic Zone I've just em- 
barked, 

'"With Three-a-Week!'" 

There in the twilight cold and grey 
This Gink decided for to stay, 

Ffoxn the top of the world so he could 
shout 
To all Exhibitors around and about: 

" Never mind T. B.'s parody of H. 
W. Longfellow's poem but DEMAND 
THREE-A-WEEK!" 



THE "SPEEDER" LIST 

IS FOR 

IMPLET READERS 

Are you using it ? 

F REE^EEmkFREE 

We have decided to install a 
separate department for looking 
after the wants of our readers, 
free. We can now assure 
prompt attention to inquiries — 
speedier than any other publi- 
cation in the country. 

We've got a "Speeder" list. 
This is made up of dealers in 
theatre supplies who assure rapid 
fire attention to inquiries. All 
an exhibitor need do is write the 
"Speeder Dep't." of the Implet 
what he needs, and he will, in a 
jiffy, receive the best prices in 
the market. 

This is a free service to ex- 
hibitors, made necessary by the 
dozens of requests for inform- 
ation that come in every week. 

The Implet is tickled to do it 
for you. 





WOMAN ALWAYS PAYS 



Copyright 1912 by Imp Films Company 




ASTA NIELSEN. 



The story of a girl who tiring of her husband 

forsakes him and suffers deeply 

for her false step. 



4-18-12 



rtffilglMPS 
IVEW WEEIC 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle t Pres. 






THE ADVENTURES OF MR. AUflOST BUTT 

Copyright 1912 Cbri Laemmk f 



He ALMOST Gets a Great Moving Picture This Time, BUT 




W¥Mi> 






DOLJ.AH 





•f * m 



Like The Implet and The Imps 

March 20, 1912. 
To the Editor, 

Sir: Thank you for so kindly send- 
ing me the "Implets"; they are very 
nice if very "impish"; my congratula- 
tions and best wishes. 

Faithfully, 

A. J. ELLIS. 

March 25, 1912. 
To the Editor, 

Sir: We wish to compliment you on 
your "Shamus O'Brien" picture; it 
certainly is one of the' finest we have 
had from every point of view. Pho- 
tography is excellent, and for your 
leads cannot speak too highly of them, 
especially your Mr. King Baggot; he 
is the veritable matinee idol. Some- 
thing very unusual in a picture thea- 
tre, he was heartily applauded and the 
villain hissed, which made it seem 
like a drama in real life. We have a 
seating capacity of one thousand and 
many were turned away. 

Very truly yours, 
PIERCE-NAGLE AMUSEMENT 
COMPANY, 
Geneva, N. Y. 

"THE PERIL." 



Great Imp Military Picture for Deco- 
ration Day. 

The Imp Films Company will re- 
lease on Decoration Day a fine mili- 
tary drama, entitled "The Peril." The 
plot of this story is intensely strong, 
and it centers around the attempt of 
a foreign spy to secure papers rela- 
tive to the disposition of the guns 
in a fort which is of great strategic 
value. The military and fort scenes 
in this picture are wonderfully realis- 
tic. 

King Baggot is seen in the char- 
acter of a captain, who meets with 
many surprising adventures in the 
execution of his duty, and in his court- 
ing of a pretty girl whose father is 
commandant of the fort. 



INVALUABLE TO THE 

EXHIBITOR. 

March 30, 1912. 
To the Editor. 

Sir: I beg to thank you for your 
kindness in continuing to send me "The 
Implet" so promptly and regularly, and 
at the same time allow me to say, that 
the more I read them the more they 
are appreciated, and the fact is im- 
pressed that they are invaluable to every 
exhibitor. 

I wish particularly to congratulate you 
upon such a splendid production as 
"Through the Flames," which I had the 
pleasure to run yesterday. This place 
being a railroad center, it proved a 
"great draw" and was immensely appre- 
ciated by my patrons. I feel greatly in- 
debted to you. 

Wishing you unqualified success in all 
you undertake, I am, 
Yours truly, 

PERCY FISHER. 
The Monroe, Florence, S. C. 



Derrel Hughes, manager of the Cry- 
stal and Rex Theatres, Hillsboro, Texas, 
writes : Just received photos of the Imp 
players, and I desire to say that they are 
fine. I had them framed and put them 
in my lobby. I am getting three Imps 
every week and will continue with three 
always. 

J. H. Ewing, manager and proprietor 
of the Lyric Theatre, Burlington, Iowa, 
writes : "One thing I wish Carl Laem- 
mle would do is to release one Imp 
every day for a week." All in good 
time, Brother Ewing. If you would 
insist upon your exchange supplying you 
with three a week, it would pave the 
way to supplying you with six a week. 

Colonial Theatre, Hoboken, N. J., 
sends us a Herald announcing tin ap- 
pearance of King Baggot at their even- 
ing show. They refer to King as "King 
by name and King of all photo players." 
Just what King is. 

Roscoe C. Cuneo, Star Theatre, Upper 
Sandusky, Ohio, sends us newspapers by 
which we perceive that Roscoe features 
Imp films as hard as he can. Keep 
up the good work, Roscoe. 

II. L. Gormont, Family Theatre, St. 
Mary's Pa., sends us two of his the- 



atre bulletins by which we see that Imps 
are splendidly featured at the Family 
Theatre. To you, we say, Brother Gor- 
mont, go ahead. 



"WOMAN ALWAYS PAYS." 

(The Imp Drama, Release of April IS.) 
The Great Danish Actress' First Appear- 
ance on the American Screen. 

The announcement that the Imp Films 
Company would release on Thursday, 
April L8th, the drama, "Woman Always 
Pays," with Asta Nielsen, the greatest 
motion-picture actress in the world, has 
excited great interest all over the United 
States. It has been reserved for Den- 
mark to produce an actress of command- 
ing excellence, whose methods are pe- 
culiarly adapted to the needs of the 
moving-picture screen. This is Asta 
Nielsen, and the Imp Films Company 
is the first agency in the United States 
to bring actress and audience face to 
face with each other in the moving- 
picture theatre. 

The film is unique, in so far as Amer- 
ican audiences are concerned; unique as 
regards the settings, which show the 
characteristic beauties of urban and 
rural Denmark, which brings the man- 
ners and customs of life there vividly 
before one, which gives you a well-con- 
structed, strongly-acted drama with a 
moral. 

Above all things, it has the powerful 
attraction of the actress' personality. 

The many exhibitors and other picture 
men who have already seen the film in 
this country are agreed on this point, 
viz. — that Asta Nielsen is an actress of 
such inherent ability for the work that 
her every movement and gesture pro- 
duce a calculated effort. She is just 
as much an artist in her work as is a 
tone or color poet. 

We urge every exhibitor, therefore, to 
not merely demand, but to insist, on hav- 
ing this picture. 

This is an Imp which you must not 
miss. 

Ask for the Asta Nielsen picture. 

Asta Nielsen! 

N-I-E-L-S-E-N ! 

Not Neilsen, as we have hitherto er- 
roneously printed it. 



JULIUS STERN RETURNS FROM 
LOS ANGELES. 

The reputation of the guiding spir- 
its of the Imp Films Company for 
activity and ubiquity has been well 
sustained by Mr. Julius Stern, the 
general manager of the Imp Films 
Company, who has recently returned 
from a stay in Los Angeles, Cal., on 
business connected with the com- 
pany's affairs. 

VVhile in Los Angeles Mr. Stern 
reorganized the studio, made several 
fresh appointments in the company's 
acting and producing departments, 
supervised the making of a very line 
series of Californian pictures, shortly 
to be released; paid several visits to 
Independent theatres, and generally 
busied himself in Los Angeles and 
the vicinity in furthering the inter- 
ests of the Imp films, which he re- 
ports as being increasingly popular in 
the Far West. 

Mr. Stern is enthusiastic about the 
possibilities of picture-making in Los 
Angeles, the climate of which he de- 
scribes as ideal for the purpose. 

Mr. E. J. Le Saint, the new direc- 
tor of the Imp Californian Company, 
is hard at work on a series of fine 
dramas and comedies which will earn 
the applause of Imp audiences all 
over the world. 

Among the pictures produced dur- 
ing Mr. Stern's visit is a beautiful 
scenic of Los Angeles, which will 
shortly be released. 



THE SALES COMPANY'S PRO- 
GRAMME. 

Sunday — Eclair, Gaumont, Rex. 

Monday — American, Champion, Imp, 
Nestor. 

Tuesday — Eclair, Powers, Republic, 
Thanhouser. 

Wednesday -- Ambrosio, Champion, 
Nestor, Reliance, Solax, Animate I 
Weekly. 

Thursday — American, Eclair, Gau 
mont, Imp, Rex. 

Friday — Bison 2-Reel Subjects, Lux, 
Solax, Thanhouser. 

Saturday — Greai Northern, Imp, Pow- 
ers, Nestor, Republic, Reliance. 




fcr 



LONESOME MISS WIGGS 




Copyright 1912 by Imp Films Company 




Miss Wiggs being alone in the world advertises for a hus- 
band and after many unpleasant experiences decides 
that single blessedness is to be preferred to 
the uncertanties of married life. 



4-20-12 



ON THE SAME REEL 



Scenic Wonders of Yellowstone Park 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



tSBM IMPS 
'EVERY WEEIC 



THE "IMPLET" 



I know you don' t like to, 
but if s for your own good." 




Your Exchange 

(By Carl Lae/nmle) 

If you are on friendly terms with your 

exchange, the best favor you can do them is to insist that 

they buy three Imps a week. The surest way for them to hold your trade is to give 
you what you ought to have— and you ought to have the best films produced. If 
the best are not Imps, there is no best! Many an exchange which has been 
forced into buying Imps on account of the concerted demand of its customers 
has admitted that it was a good thing — afterward. 

They found it was easier to hold their old 

customers and easier to get new ones. They found Imps 

the most convincing argument to use in converting exhibitors from the licensed 
ranks to the independent. We know of dozens and dozens of instances where 
one Imp film, "From the Bottom of the Sea," was the final inducement which 
won doubting exhibitors. Mind you, this is only one Imp. We have others in 
preparation which are far superior to that one in every detail. They are going to 
make big money for you, and for your exchange, if your exchange buys them. 

On one of these big Imps we will lose a small 

fortune. It is so costly that there is no possible chance 

of the Imp's making any profiit on it. But it will be a big card, a great adver- 
tisement — for you, for your exchange, for the Imp. You will make profits on it. 
So will your exchange. But the Imp will not! If your exchange gives you three 
Imps every week, you can^t possibly miss any of these tremendous features. The 
result will be that the friendship between you and your exchange will be more 
firmly cemented than ever. Could anything be better for your exchange than to 
have you satisfied? That's why I say the greatest favor you can do your 
exchange man is to demand three Imps a week. Meet him on the price question 
and you'll find it the one best investment you can make. 



(Next week 's installment: "A Sh 



me. ' ) 











THE IMPLET 

is worth more to you every week than we ask you to pay for 
a whole yearns subscription. 

WHY? 

( 1 ) . Because by tearing out the right hand pages and 
hanging them in your lobby you will attract scores of 
extra people into your house. These pages will be 
a permanent feature of The Implet. 

(2). Because The Implet will contain authoritative news 
of future Imp releases before you can find such news 
anywhere else. This will help you deal knowingly 
with your exchange. 

(3). Because the pages of The Implet will be a great help 
to you in preparing your advertising, whether in 
newspapers, dodgers, heralds or otherwise. 

(4). Because The Implet has better ways of securing real 
news and reliable information about the moving pic- 
ture business than any publication in the world 
and we intend to use that advantage to your benefit. 

(5). Because The Implet curries favor nowhere, except 
with you! It will be a "free press" in the highest 
sense of the word; free from fear; free from restrain- 
ing influences; free to give you the straight, honest 
truth every week, and in advance of all others. 

Fill the enclosed blank and send it with the correct sum of money NOW. It's a small 
investment but the best you can make. Carl Laernmle never gave you a wrong tip in any 
paper. It's all the more certain that he won't in his own, The Implet ! 



IMP FILMS CO. 

102 West 101st Street, New York, N. Y. 

Gentlemen: — Enclosed find $ for which 

years. (The price is $1.00 per year.) 

Name 

Address 



enter my subscription to The Implet for 




:£&?- -. 



s^ 



*S 



J> 






m 



m 



T-. V, 






■rS'vf- -Qrf'- 6 
'■'\-y. a* t-i'A 

H I 'I 




THE "IMPLET" 



If y 

excha 

they bir 
you wha 
the best 
forced n 
has adm 

The^ 

custoi 

the mos 
ranks to 
one Imp 
won dot 
preparat 
make big 

On c 

fortur 

of the Ii 

tisement 

So will } 

Imps ev( 

result win ue mar rne inenasnip Detween you and your exchange will be more 

firmly cemented than ever. Could anything be better for your exchange than to 

have you satisfied? That's why I say the greatest favor you can do your 

exchange man is to demand three Imps a week. Meet him on the price question 

and you'll find it the one best investment you can make. 

(Next week 's installment: "A Shame? ') 





NEW GREAT SERIES OF IMP 

COMEDIES 



< ': A % I' 



Vi' 



-a- 5 i ..* 

\fi\ if --J 

K*V ■ J? 

pr?Vjfi 



The Imp renown was built up on Imp 
dramas and Imp comedies. Everybody says 
so and as "everybody" means, in the ver- 
nacular, the sense of public opinion, every- 
body is and must be right. Ask anybody who 
knows, and they will tell you the same thing. 
So that here we have general evidence and 
particular evidence of the truth of what we 
say, viz.: that Imp success has been won by 
Imp dramas and Imp comedies. 

During the past few months as the reader 
(who is also the exhibitor), knows, we 
have released a series of powerful Imp dramas 
which have won unstinted commendation 
in the newspapers that devote critical at- 
tention to moving picture plays. The critics, 
in fact, have been unanimous in praising the' 
dramatic and photographic qualities of the 
Imp films. It is only necessary to pick out 
such successes as "On the Stroke of Three," 
"The Worth of a Man," "The Lie," "Shamus 
O'Brien," and "Better than Gold," to sub- 
stantiate our claim. These and many other 
pictures have been wonderfully well received 
by the press, exhibitors and the public of the 
world. 



Now, it falls that in the cycle of events, 
Imp comedy is coming very much to the front 
in our releases. The Imp directors, both in 
New York and California, are giving rein just 
now to their comedy producing talents. The 
result is that the Imp releases of the next 
month include a series of the most humorous 
and refined comedies the Imp Films Company 
have yet made. 

In these pictures King Baggot, W. R. Daly, 
Wm. E. Shay, Harry Pollard, Ed Lyons, J. R. 
Cumpson, Margarita Fischer, Vivian Prescott 
and Violet Horner (a combination of the best 
acting ability at the disposal of any moving 
picture concern in existence), are seen at their 
best and brightest. 

We give a list of these splendid comedies 
with their release dates. We advise every ex- 
hibitor to make a feature in his advertising literature 
of these comedies. 

Let him cut out the list as it stands. Let 
him watch "The Implet" for literature bearing 
on these releases. Let him feature these pic- 
tures; they are laugh makers and money mak- 
ers. Here they are: 



|lf; 





pill 



A Is*. 






Title. Release Date. Featuring. 

A PIECE OF AMBERGRIS April 27. . J. R. Cumpson and Rolinda Bainbridge 

MELODRAMA OF YESTERDAY. . .May 4. . .Harry Pollard, Margarita Fischer and 

Ed. Lyons 

UP AGAINST IT June 1. .. King Baggot, Wm. E. Shay, and Vivian 

Prescott 

HENPECKED IKE May 18. . .Louise Crolius, Ed. Lyons and "Dolly," 

the Burro. 

A CAVE MAN WOOING May 20. . .King Baggot, W. R. Daly and Violet 

Horner 

THE MAID'S STRATA GEM May 25. , .Vivian Prescott, Violet Homer, J. R. 

Cumpson and H. S. Mack 



cr 



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a, 't,U «. «,/?', 

tog'. ^>lA; 




THE "IMPLET" 



^e "3Bmpltt" 

The Moving Picture Newspaper 
Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 

Published at 102 W. 101st St., New York 

SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY. 5 CENTS 

"THE SINCEREST FLATTERY." 

No sooner did "The Implet" make 
its appearance than it was imitated 
by a competitor; so close was and is 
the imitation that some of the very 
expressions peculiar to this paper and 
the vocabulary of its editor, were bod- 
ily transferred to the pages of this 
competitive organ. 

But we of the Imps, and "The Imp- 
let" take imitation as a matter of 
course because we are inimitable, and 
being inimitable we provoke imitation 
which flatters us, while it discredits 
our flatterers. 

We are original and we originate. 

We orginated weekly short stories 
of our films We were imitated in 
two directions. The imitating stories 
are not equal in merit or quality to 
our stories. 

The Imp advertising methods are 
inimitable. They are imitated. Again 
without success. 

We announced "The Loan Shark" 
picture. Our competitors in Chicago, 
the Essanay Company, followed suit. 
Yet G. K. Spoor could, if he would, 
be original. Why don't you, George? 

Pathe Freres, too, have copied "The 
Loan Shark"; Pathe surely can afford 
to be original. Why don't they? 

One of the most famous of our re- 
cent Imp dramas, "On the Stroke of 
Three," was imitated by a competitor. 

Then — oh, but hang it. we could fill 
more space than we can spare with 
particulars of the imitations in meth- 
ods to which, we of the Imps, and 
"The Implet," are subjected. 

No more at present: we have some- 
thing else to write about. 



KING BAGGOT AT WORK 



CASTS OF THE IMP PLAYS 

"A Millionaire for a Day." 

(Imp Comedy. Release, Monday. 

April 22nd, 1912.) 

Written by 

Produced by F. A. Thomson. 

Fred Dudley J. R. Cumpson 

The Foreman Frank Russell 

The Bank Cashier Frank Crane 

The Bank Teller H. S. Mack 

The Clerk in Clothing Store 

M. Lone 

The Gambler J. R. Rogers 

The Judge Wm. Cunningham 

"The Loan Shark." 

(Imp Drama. Release, Thursday. 

April 25th, 1912.) 

Written by H. Brenon. 

Produced by Otis Turner. 

Dr. Fenlon King Baggot 

Jacob Elliott W. R. Daly 

Helen Elliott Grace Lewis 

Frederick Norwood ....Wm. E. Shay 

Gertrude Norwood Effie Nicholls 

Lize Nawn Rolinda Bainbridge 

"A Piece of Ambergris." 

(Imp Comedy. Release. Saturday, 

April 27th, 1912.) 

Written by E. A. Locke. 

Produced by F. A. Thomson. 

Captain Binks J. R. Cumpson 

Mrs. Lappy Rolinda Bainbridge 

Groggs N. Ober 

Speckles P. Russell 

"A DAY IN THE IMP STUDIO." 

In an early number of "The Imp- 
let." we shall publish an article speci- 
ally descriptive of "A Day in the Imp 
Studio." You will read all about the 
world famous Imp personalities — 
King Baggot, William R. Daly, Will- 
iam E. Shay, H. S. Mack; about Viv- 
ian Prescott and Violet Horner. 
About how pictures are produced and 
acted, about the settings, about every- 
thing and everybody connected with 
the making of an Imp picture down 
to the studio cat — in fact all about 
the Tmp picture in the making. Look 
out for this number. Look fixedly. 
intently, insistently. 

And keep on looking. 



It is commonly supposed that the 
moving picture actor does not act. By 
what you hear, and you hear a lot on 
the subject, the general impression is, 
that actors and actresses of the silent 
stage, so called, simply pose. "They 
just walk on and they just walk off" 
to quote from the once popular song. 
"It all looks so easy," as a man once 
said to me as I sat watching a great 
championship billiard match in Eur- 
ope when a master of the game was 
running up a record score. 

What looks so easy on the screen, 
to the eye of the uninitiated, is far 
from easy in actual fact. The hardest 
working actor on the so-called silent 
stage to-day is King Baggot of the 
Imp Film Company's forces. The 
public has got so accustomed to see- 
ing King Baggot in his debonair parts 
in the Imp pictures that there is a 
general feeling that debonairness, if 
I may use the term, is King's daily 
habit of life. Far from it! His life 
is as varied and as variegated as it is 
possible for that of any one man to 
be. Just look at Baggot's acting rec- 
ord since January 1st of this year. 

On the 4th of January, we find him 
playing the "artist" in that pretty lit- 
tle idyll, "The Trinity." On the 18th, 
he jumps to the successful brother in 
the domestic drama of "After Many 
Years"; on the 29th, he is "Nick Car- 
ter" in "The Kid and the Sleuth"; 
on February 15th, he is the heroic 
locomotive engineer of the Imp drama 
"Through the Flames"; on the 17th, 
he is the harassed husband in that 
comedy of madness, "Tables Turned"; 
on the 19th of that month, he is the 
picturesque old inventor of "The 
Modern Highwayman"; on the 22nd, 
the chivalrous Southern officer in 
"The Lie"; on the 26th, he is the good 
natured young society man of "The 
Immigrant's Violin." Surely some 
record for January and February! 

But let us look at his wonderful 



work in March. The part of the fate- 
haunted trapper in "Far from the 
Beaten Track," made a great call 
upon his powers of tragic expression. 
Then on the 14th came the greatest 
triumph of his career, the splendid 
character of "Shamus" in "Shamus 
O'Brien" — an impersonation that is 
universally admired for its natural- 
ness and sentimentality — by which I 
mean that Baggot, according to Irish 
ideas, acts most convincingly in the 
part and gets the sentiment over. It 
needs an Irishman to understand ex- 
actly what I mean. I know what I 
mean because I am (occasionally) an 
Irishman myself. This is why the 
famous Imp "four," Baggot, Daly, 
Shay and myself make what an Irish- 
man would call a strong "trinity." 

Then there is "The Man from the 
West," wherein you see Baggot as a 
simple child of occidental America, 
plus a murderous looking pistol; an 
impossible character splendidly played 
Into those lugubrious offerings (I 
call them lugubrious, but lots of peo- 
ple like them, just as lots of people 
like tears, while I like laughter), "The 
Romance of an Old Maid" and 
"Tempted but True," Baggot, like the 
fine and conscientious actor that he 
is, puts some of his best work. In the 
first he was a drunken workman; in 
the second a blacksmith who was 
something of a bore. But then, as I 
have already said, Mr. Baggot works 
hard and is ideally loyal to his directors. 

So much for the past; now for the 
future. In "Up Against It," a fine 
Imp comedy, to be released on Satur- 
day, June 1st, we are to see King 
Baggot as King Baggot. That is to 
say. we are to see him as millions of 
his admirers most prefer to see him, 
the polished, graceful, romantic actor. 
On the 20th "A Cave Man Woo- 
ing" gives Baggot another opportun- 
ity of illustrating his marvelous versa- 
tility. He is the "sissy bov" in love 



with a girl and unable to make head- 
way until inspired by the profound 
(but not original) remark of Laura 
Jean Libbey of Brooklyn, N. Y., that 
women more easily fall for strong 
men than weak ones. He goes in for 
a course of physical culture: wallops 
everybody with whom he comes into 
contact, and bears off his girl, much in 
the same manner to-day as Lochin- 
var, the pirate bandits and freebooters 
of old bore off their willing or unwill- 
ing brides. It did not matter whether 
they were willing or not, they had to 
go, just as Miss Horner does in this 
side splitting Imp comedy. 

On Thursday, May 30th, as we re- 
mark elsewhere, "The Peril," in which 
King plays the part of the chivalrous 
and brave "captain," is to be released. 
Then his admirers will have an op- 
portunity of seeing him in the role in 
which he always makes good: viz., 
that of a military hero. 

How does Baggot achieve all this? 
Simply by the application of the one 
infallible formula, hard work. It is 
hard work acting in the pictures, espe- 
cially in Imp pictures, the success of 
which is solely due to hard work. No 
success in this world was ever won, 
or ever will be won, without hard work. 

King Baggot, everybody will be in- 
terested to know, not only poses his 
parts, but acts his parts, and talks his 
parts. Most leading motion picture 
actresses and actors do that nowa- 
days. This, I hope, removes a com- 
mon impression that acting before the 
camera differs radically from acting 
on a stage in an ordinary theatre. A 
few years ago moving picture actors just 
posed and mumbled; now they act and talk. 

And believe me, to judge by either 
the talking picture stage standard or 
the moving picture stage standard, 
Baggot's pre-eminence is on the in- 
crease. In future Imp productions he 
will have still greater opportunities of 
illustrating his wonderful art. T. B. 



POPULAR 
PICTURES 




OF IMP 
STARS 



The 

Snap 

of the Year! 



Only 

50c. 

per SET 



THINK OF IT! 



Actual Size of Each Photo 

5^x8! 



THIS complete set of PROCESS PEBBLED PRINTS 
of Imp stars for the insignificant sum of 50c. It's the biggest 
bargain and the softest snap ever offered you. Buy one 
set for yourself and you'll quickly see how easy it will be 
to sell other sets to your patrons who are enthusiastic ^^P 

over Imp actors and actresses. Tear off coupon, fill ^^ p 

in the blanks, enclose with the proper s jm of 
money to cover as many sets as you want 
at 50c. per set, write your name and ^^ 
address plainly and---mailat ^^ 

once to the ^^ 

IMP FILMS CO. ^ 

102 W. 101st ST. ^^ 

NEW YORK ^ Namc 



in. ^^ 

^ Imp Films 
, ^ Co. 

102 W. 101st ST., IEWYORK.N.Y. 

Gentlemen : 

nclosed find $ for 

^^ which please send sets of 

photos of Imp stars as described in the 
advertisement from which I cut this coupon. 
Yours truly. 



Add 



ress . 





A MILLIONAIRE FOR A DAY 



Copyright 1912 by Imp Films Company 




A suddenly enriched workman lives the life of a millionaire 

for a^day in New York City. He enjoys himself on 

the Great White Way, but finally returns 

to work in his machine shop. 



4-22-12 



IMP FILMS COMPANY 



102 West 101st Street, New .York 



Carl Laemmle, Pres. 



THE/'IMPLET" 



WHO INVENTED THE MOTION 

PICTURE? 

[By "S." in "The Philadelphia Public Ledger."] 



In the account of the development 
of the "motion picture" industry pub- 
lished in the "Public Ledger" of 
March 31, it is stated that the first 
step in the application of photography 
to this purpose followed the introduc- 
tion of the dry plate. While it is 
true that the advent of the dry plate, 
and especially of films, with improve- 
ments in instantaneous photography, 
brought about the final solution of the 
problem, motion pictures were pro- 
duced by photography at a much ear- 
lier date. In 1861 the late Dr. Cole- 
man Sellers, of this city, while amus- 
ing himself as an amateur in pho- 
tography, devised an apparatus for 
showing photographed objects in mo- 
tion, his invention being duly patented 
in that year. This fact was recalled 
in an illustrated article that appeared 
in the "Public Ledger" many years 
ago and was later referred to in Cas- 
sier's Magazine, of August, 1903, in a 
biographical sketch of Coleman Sel- 
lers, by the late Dr. Henry Morton, 
president of Stevens' Institute of 
Technology, as follows: 

"In 1861 Doctor Sellers made and 
patented a device which he called the 
kinematoscope for the exhibition of 
stereoscopic pictures of objects in mo- 
tion, which, in point of fact, was the 
crude prototype of the modern ma- 
chines for displaying moving objects, 
such as the biographs, kinetoscope 



and others. The machine accom- 
plished the object intended in a prac- 
tical manner, but required for its full 
development, instantaneous photog- 
raphy, which had not at that time 
been invented. * * * The operation 
to be reproduced was divided into a 
suitable number of parts, the sub- 
ject being posed for each part of the 
movement. As many seconds were 
required for each pose with the slow 
plates then used, great care was 
necessary on the part of the opera- 
tor and model to get perfect registra- 
tion of the successive views. The re- 
sult, however, was quite successful in 
portraying such simple repeated 
movements as a boy driving a nail or 
a lady sewing." 

In Doctor Morton's account of this 
apparatus, the two methods proposed 
by the inventor were illustrated from 
the original patent drawing, one show- 
ing the photographs arranged radially 
around a horizontal axis, and the 
other, the use of an endless belt more 
closely approximating the modern 
highly developed machine. One of 
the kinematoscopes of the former 
type as orginallv constructed is still 
in existence in this city, and it is in- 
teresting to note also that the patent 
papers granted to Doctor Sellers in 
1861 are witnessed by the venerable 
George Burnham, Sr., who is still liv- 
ing and who was much interested in 
the invention at the time. 

The part played by photography in 
the development of the motion picture 
industry cannot be fully presented 
without reference to the pioneer ex- 
periment of Coleman Sellers, which, 
as stated, were described long ago in 
the columns of the "Public Ledger." 



'THE RETURN OF CAPTAIN 
JOHN." 



"THE PERIL. 



The Imo Great Sea Film. 

Release of June 6th. 

We thought so much of this picture 
that we seized upon it for the theme 
of the story which was printed in No. 
12 of "The Implet." The story is 
fine and human and is magnificently 
acted by the Imp California Com- 
pany. Margarita Fischer does some 
of the best work of her career as the 
fate-haunted heroine; the other mem- 
bers of the company are also well to 
the fore in their respective parts. 

But aside from the story and the 
acting, here's one reason why we de- 
sire to specially commend this picture 
to all exchanges and exhibitors: 

It shows some of the best marine 
photography ever made in a film. The 
exposure in the beautiful light of the 
California coast was so accurate that 
all the delightful half tones and gra- 
dations of the sunlit scenes have been 
faithfully portrayed. This is a func- 
tion of moving picture making that is 
often overlooked; viz.: that the films 
should record the absolute and rela- 
tive values of the tones of the subject 
in front of the lens. This is the pic- 
torial side of movinp picture making. 

As a picture, then, showing graphic 
scenes of fishing life on the California 
coast, and with a heart interest story 
and stirring incidents, "The Return 
of Captain John" must be accounted 
an Imp masterpiece. And when, in 
addition to all this, the technique of 
the picture is perfect to the point of 
flawlessness it ma" well be imagined 
that in "The Return of Captain John" 
the Imp Films Company have pro- 
duced another masterpiece. 

The storv is splendidly pathetic; 
the acting fine and natural. 

The settings picturesque. 

The seascapes and shore studies are 
beautiful in the extreme. 

Demand "The Return of Captain 
John." 



'THE IMPLET" MAIL BOX 



Name of Character. S. Bush (Alex- 
andria, Ind.), asks: Who played the 
male lead in "A Pair of Gloves? (2) 
Is Mary Pickford still with your com- 
pany? , . 

In reply: King Baggot played the 
lead in "A Pair of Gloves." (2) Miss 
Pickford is no longer a member of 
our company. 

Various. L. Hendricks (San hran- 
cisco) writes: Will you kindly inform 
me if it is possible to print pictures 
from moving picture films the same 
as from kodak films? (2) Can one 
buy a moving picture after it is too 
old to be shown? (3) Please give me 
the names of the moving picture com- 
panies which publish papers. 

In reply: (1) It is quite possible to 
make paper prints from moving pic- 
ture films just the same as from ko- 
dak negatives. (2) Yes. (3) Solax 
Company, Flushing, L. I., and Than- 
houser Co., New Rochelle, N. Y. 

Imp Stories. Mrs. S. B. (Madison, 
Wis.), writes: I do so like the stories 
of your films which you are printing 
in your paper, "The Implet." Won't 
you publish them in book form, so 
that I can have them complete? 

In reply: Cannot say at present, 
but if there is a sufficient demand we 
may republish them. 

"The Loan Shark." S. E. W. (Troy. 
S C.) writes: I see you are produc- 
ing a film called "The Loan Shark. 
A licensed maker did this film the 
other day. Are you aware of this? _ 

In reply: Yes, quite aware of it. 
But our film is different and was 
thought out by ourselves quite inde- 
pendently of anybody else.. 

Asta Nielsen. "An admirer" asks 
Is it true that this lady has been se- 
cured by an American film manufac- 
turer to pose for him? 

In reply: We think not. Asta s 
price, we are given to understand, 
was too high even for an enterprising 
American film manufacturer. 

Nazimova in Moving Pictures. F. 
McF. (Jersey City), asks: Is it true 
that this gifted actress is to enter the 
picture field? 



In reply: We have no definite in- 
formation regarding the plans of the 
lady, but we have no doubt that in 
time she will pose for the picture. 
At any rate, we predict a brilliant fu- 
ture for her should she take up this 
line of work. 

Tele-Photographic .Moving Pictures. 
Optical wants to know if it is possible 
to apply the Tele principle to the 
moving picture. 

In reply: Quite possible. The addi- 
tion of a negative lens to the posi- 
tive lens of the moving picture cam- 
era would lengthen the focus and thus 
enable the picture to be produced on a 
larger scale than with the ordinary 
lens alone. Motion pictures of avia- 
tors and from distant points should 
be taken by tele-photographic means; 
of course, the camera would have to 
be adapted to using the particular 
form of lens specified. 

An F.1.9. Lens. J. R. Collins (Mon- 
treal), writes: I see reference in a 
moving picture paper to a wonderful 
F.1.9. Lens, for motion picture mak- 
ing. Is this something new? 

In reply: The lens in question was 
brought out about two years ago by 
the well-known opticians, J. H. Dall- 
meyer, Limited, of London. You cap 
get a similar lens from their Ameri- 
can agents, Burke & James, Chicago. 

"M. I. P." Many correspondents 
write to ask us what we meant when, 
in a recent number of "The Implet," 
we stated that the Imp films were 
M.I. P. (not Mip as it was printed). 

In reply: M.I. P. is the well-known 
abbreviation for the Latin term mul- 
tum in parvo, meaning, as every schol- 
ar knows, "Much in little." So when 
we said that I.M.P. films were M.I. P. 
we made a play upon words and also 
stated the well-known truth that the 
Imp films contained "Much in little." 
In other words, that an Imp picture 
condenses all the good qualities of a 
good picture into the smallest possi- 
ble dimensions. 



UP TO THE OPERATOR. 

April 4, 1912. 
To the Editor, 

Sir: I wish you would answer the 
following questions through the col- 
umns of "The Implet": 1 was at the 
"Lyric," at Manning, la., last evening 
and saw "The Master and the Man" 
and "The Power of Conscience." The 
operator of the machine ran it so fast 
that one could get no enjoyment out 
of the films whatever. 1 timed him 
and it took him about twelve minutes 
to run each reel, about half the time it 
should be run. A Thanhouser was also 
run in about this time. I asked the 
operator why he ran the machine so 
fast. He said it was not run fast, but 
the picture was taken fast. Now what 
1 want to know is whether these pic- 
tures were run too fast through the 
machine. I told this operator that no 
company like the "Imp," or any mov- 
ing picture company, could afford to 
make pictures in which the figures 
move so fast, as it would spoil the 
sale of the film. B^t he still says, it 
was the fault of the maker. I do not 
think it was your fault, but his, so 
please settle this. I think a campaign 
ought to be made by the "Implet" 
against the operators who spoil the 
effect of a good film bv fast running. 
Hoping this will be answered in 
due time, I am 

Yours truly, 
JOHN HUNGERFORD, JR., 

The "Carroll Herald," 
Carroll, Iowa. 

[The pictures to which our corre- 
spondent refers were made at the nor- 
mal rate of speed, that is about six- 
teen a second; when projected in our 
own room at the factory the move- 
ments of the characters of the picture 
were nuite natural so that in this case 
the operator was in error. Most oper- 
ators, as we know, are careful to run 
their pictures at the proper rate of 
speed, but when they fail to do so we 
think the attention of the manufac- 
turers should be called to it. — Editor 
"Implet."] 



A Great Military Drama by the Imp 
Company. 

A Decoration Day Release. 

"The Peril," the Imp war picture to 
be released on Decoration Day, 
Thursday, May 30th, is one of those 
subjects which must appeal to every 
patriotic citizen in the United States. 
The point of the storv is the attempt 
by an agent of a foreign government 
to obtain secret information about the 
disposition of the guns in a United 
States fort of great strategic value 
The spy is foiled in his attempt, not, 
however, before the brave captain of 
the fort is brought into disrepute, 
nearly loses the hand of his fiancee, 
and is placed under suspicion in other 
respects. But in the end truth and 
justice prevail, the secret papers are 
saved and happiness is assured. 

The picture shows some vivid 
scenes ot military life in a great fort. 
The men are seen at drill; there is 
work around the guns; there are 
scenes of canteen and club life and 
the picture generally gives a very ac- 
curate account of the routine attach- 
ed to the guarding of a great tort. 

The machinations of the spy, dis- 
guised as a butler, are dramatically 
shown. The scenes of the play where 
he is making secret notes of the de- 
tails of the guns are powerful in the 
extreme. With it all there is inter- 
woven a prettv love story. 

The fort scenes were actually made 
inside a fort and real United States 
soldiers performed in the play. 

King Baggot enacts the part of the 
Captain, William Shay is the Com- 
mandant and H. S. Mack is an officer 
Violet Horner, as Mr. Bap-°-ot's fian- 
cee, is a picturesque, attractive figure 
in the play. 

That very fin- actor, VV. R. Daly, is 
the nefarious spy. 

There are some real Japanese in the 
picture. 

Altogether "The Peril" is replete 
with interest and excitement all 
through and shows some fine photo- 
graphic effects. It is a stirring, well- 
acted drama, probable at every point 
and will undoubtedly arouse the en- 
thusiasm of all moving picture audi- 
ences. 



STOCK PANIC FOR THE FILM. 

New York Curb Brokers Play Black 
Friday for Picture Machine Man. 

One of the most exciting periods 
which the Broad Street curb brokers 
have ever experienced was witnessed re- 
cently by the noon-hour crowd at lunch 
time. To hundreds of people who lined 
the sidewalks it appeared as though a 
panic had developed; brokers surged 
about, flinging arms into the air and 
screaming incoherently their prices for 
different stocks. 

While the excitement was at is height 
one broker forced his way from the 
middle of the crowd with two or three 
young traders hanging onto his arms. 
Hats were knocked off as other brok- 
ers crowded about, and a general melee 
appeared imminent. 

As suddenly as the excitement was be- 
gun it indeed, however, when a daper 
little man in the doorway of a restaur- 
ant, which overlooks the curb, came 
bustling into the street. "That's fine," 
he exclaimed. "Thank you all, very 
much." 

The belligerents of a moment before 
picked up their hats, adjusted their over- 
coats, and resumed their normal affairs, 
while the onlookers trailed after the mo- 
tion-picture man as far as the Wall 
Street subway entrance. Thus ended 
the manufacture of one chapter of the 
"Broker's Revenge," which will shortly 
be produced throughout the country. 
Other chapters will be manufactured up- 
town. 

(Watch out for a forthcoming Imp 
Release embodying this feature.) 



Binding Cases for "The Implet." 
Several correspondents write to us 
suggesting binding cases for "The 
Implet." 

In reply: We will shortly place 
these at the disposal of our readers. 



1^ 





THE LOAN SHARK 



Copyright 1912 by Imp Films Company 







An old man in despair at the exactions of a loan shark is 

about to end his sufferings when he is prevented by a 

young physician, who saves the life of the loan 

shark's daughter and proves that the loan 

shark himself is, after all, humane. 



4-25-1 to 



j Y ffREE IMPS 

<E$mr WEEK* 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



THE ADYENTVEES 0? MR. JiMOST BUTT 

Copyngkt 1912 Car] Laemmle * 

He ALMOST Gets a Great Moving Picture This Time, BUT 




^'N6AMe 



THEY LIKE THE IMPLET. 

To the Editor, 

Sir: I consider "The Implet" a 
splendid moving picture paper and 
here is a wish that it shall soon in- 
crease in size. 

Truly yours, 
M. P. THOMPSON, 

Ultra Theatre, 
Philadelphia, Pa. 



To the Editor, 

Sir: We find "The Implet" to be a 
very valuable little paper. We would 
like very much to be able to pass 
them out to our audience occasionally. 
Our receipts are larger every time we 
have an "Imp." 

Truly yours, 

A. WHEAT, 
Sewickley, Pa. 



To the Editor, 

Sir: "The Implet" is splendid! 
Everyone is crazy about "Imps" here. 
Mr. Baggot and Miss Fischer seem to 
be the special favorites. Here's for 
all possible success. 

Very truly yours, 

I. A. EDELIN, 
Washington, D. C. 



To the Editor, 

Sir: I get many points from "The 
Implet" that are helpful. Long life 
and greater prosperity to it. 
Respectfully, 

E. McNEIL, 
New York City. 



To the Editor: 

Sir: We do not have Independents 
here, but am hoping we will some 
time. Am interested in all the releases 
however, and watch with particular 
interest for "The Implet," the cuts are 
so large and photos so good — lots of 
helpful information, too, for ex- 
changes, exhibitors and the struggling 
nario writer. 

Yours verv truly, 

L. E. SWEETSER, 

Belfast, Me. 



TRICK PICTURES. 

Long after men have ceased to mar- 
vel at the mere quality of motion in 
pictures their wonderment is aroused 
and their curiosity excited by the nu- 
merous achievements of the seemingly 
impossible on the moving-picture screen. 

The palpable trick picture is not nearly 
so popular as it once was, as the mov- 
ing-picture patrons no longer wax en- 
thusiastic over the skill of a cinemato- 
graph magician. But in spite of this 
change in popular taste, the trick pic- 
ture is still employed — although in a 
fashion that, if successful, will nut be 
detected by the spectator. Probably 
you have seen a film in which an auto- 
mobile dashes madly down an inclined 
road to a grade crossing over a rail- 
way, crashes through the crossing gates 
and is brought to a standstill within six 
inches of an express train rushing by at 
an apparent speed of sixty miles an 
hour. That any chauffeur with a car 
filled with passengers would undertake 
such a death-defying feat staggers be- 
lief; but here is the moving picture, 
and we know that moving pictures are 
made from photographs, and that photo- 
graphs are made by cameras that tell 
nothing but the truth. 

It is true that the camera will tell only 
the truth ; but no camera has yet pre- 
tended to tell the whole truth. In this 
particular automobile picture the camera 
man complained bitterly that after the 
automobile had crashed through the 
crossing gates and had stopped within 
a few inches of the railroad track, that 
same automobile had gone on back to 
town and had left him sitting on a 
fence with his camera for two solid 
hours waiting for that express train to 
come by. 

The camera man had stopped turning 
the crank and closed the shutter when 
the automobile came up to the track. 
Then he waited for the express train, 
turned the crank, and opened the shut- 
ter. If it had not been convenient to 
have a property automobile at the cross- 
ing, he might have caught any passing 
motor car going over the tracks, and, 
then, by the simple expedient of cutting 
off the film he could have stopped the 
car wherever he pleased. 



Real Photographs 

OF 

Imp Favorites 

We have for disposal a few 
real photographs (that is beau- 
tiful surface prints) of some of 
our Imp players. There is King 
Baggot, whose picture is 1 1 Y\ 
x9ji; there is W. R. Daly rep- 
resented on a 9 x 7 picture, and 
H. S. Mack also a 9 x 7. The 
number of these photographs 
is limited. They are as good as 
the celebrated theatrical photo- 
grapher, White, of Broadway, 
can make them. We are selling 
them at 15 cents each. Send 
your orders, and the money to 
cover cost, to the Imp Films Co., 
102 West 101st Street, New 
York City. 



One of the most thrilling melodramas 
that went the rounds of the five-cent 
theatres last summer told the story of a 
girl station agent at a lonely western 
siding who was attacked and left for 
dead on the railroad track by bandits 
planning to hold up the pay train. Plow 
she was saved by the faithfulness of a 
dog was the main feature of the photo- 
play ; but in that there was nothing 
more miraculous than the patience re- 
quired to train the dog to do his part. 
There was, however, a real film miracle 
in the play. 



1 f the moving-picture men want stu- 
dies in facial expression they should 
catch the President when he is vetoing a 
bill instead of when he is signing one. 
— Washington Star. 



Brickbats and Bouquets 

This is the title of a book which 
we are mailing free to any one 
who will take the trouble to 
write for it to The Imp Films 
Company, No. 102 West 101st 
Street, New York City. It is a 
book of about 60 Pages, and the 
contributors to it are Independ- 
ent exhibitors all over the 
United States and Canada. This 
is how we made the book: We 
sent out a circular to exhibitors, 
asking them if they were, or 
were not, in favor of Three 
Imps a Week. We also asked 
them to state their reasons one 
way or another. 

The replies came in by the 
hundred. There is an over- 
whelming desire for Three Imps 
a Week; and the reasons why 
are given. The majority want 
comedy; some want industrials, 
some want dramas, and others 
want educational. But ALL — or 
NEARLY ALL want Three-a- 
Week. And since December 
they have had them. But the 
book is of general, as well as of 
particular value. We have 
printed the "Brickbats" as well 
as the " Bouquets." We have 
been fair in the interests of The 
Imp Company; we are fair in 
the interests of the general film 
business. Mr. Exhibitor and Mr. 
Exchange Man, let us send you 
a copy of "Brickbats and 
Bouquets." 





A PIECE OF AMBERGRIS 



Copyright 1912 by Into Films Company 




\ 




Captain Binks marries a widow who is the^owner of a 

supposedly valuable piece of ambergris, which, 

however, proves to be worthless. 



4-27-12 



ON THE SAME REEL 



U. S. ARTILLERY MANOEUVRES 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



THE "IMPLET" 




A Shame! 



{By Carl Laemmle) 

Fewer Imps are sold on Thursday than on 

either Monday or Saturday. Yet, if you will look back 

over the list of Imp releases, you will find that some of our very finest efforts were 
put forth on Thursdays. The chances are that you have missed them altogether. 
If so, // is a shame. It is dead wrong that you should not get the benefit of all 
the time and trouble, care and money that we expended on these splendid re- 
leases. It is dead wrong that you should miss any Imp, whether released on 
Monday, Thursday or Saturday. 

Get out a list of Imps released since the first 

of the year, and check off all the Imps you have missed. If 

you have no such list, ask the Imp for one. Unless your exchange is giving you 
three Imps a week, your check-marks will stagger you. It will probably arouse 
you to the fact that, though you are independent, you are probably missing some 
of the very best independent pictures. 

This may be your fault or your exchange's. 

If you are haggling with your exchange on price, you are 

saving at the spigot and wasting at the bung. Pay a little more, if necessary, and 
get Imps — three a week. Your small additional investment will come back many 
times over in your box office. If you are already paying a reasonable sum for 
service, then why in the name of heaven don't you demand that your exchange 
furnish you three Imps a week? If you are a good customer and good pay, 
your exchange will heed your demand. If you are making the Indian on every penny 
screech before you let go of it, if you are paying less than a decent sum for film 
rental, you are virtually shutting your doors in the very face of the people who 
support you — the people who pay admission fees to see good shows, not junk! 
Diagnose your own case. Find out what's wrong with your system and then 
apply the remedy! 

{Next week's installment: — " ' Splittotg the Splits.") 



,.^.'._ M 








The Popularity of "The Implet": 

Remarkable Manifestation 

of Public Opinion 












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r v'- 



'.-V 



^ 






m 



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frT~k 

I. i A 



1$ {^ 



In the three months of its existance "The 
Implet" has achieved two very striking re- 
sults. One: It has attained the largest cir- 
culation of any moving picture publication in 
the world. This we know from the size of our 
mailing list, which is the largest of its kind 
in existence. Two: It is one of the most 
popular moving picture publications in the 
world. How do we know this? 

We will tell you. Two weeks ago, we sent 
out to every reader of "The Implet" a little 
leaflet asking him to say what moving picture 
papers he read, so that we could keep him 
posted on Imp affairs. We specified the fol- 
lowing papers: "The Implet," The Moving 
Picture News, The Moving Picture World, 
The Billboard, The New York Clipper, and 
The Dramatic Mirror. We asked the reader 
to scratch out the ones he did not read. 

An enormous number of replies have 
reached us. We have tabulated those replies, 
from which one fact stands out in startling 
clearness, viz: 

That "The Implet" is one of the most popular and 
widely read moving picture publications in existence. 

We were aware of all this but we wanted 
the satisfaction of confirmation. Ever since 
the publication started we have printed scores 
of letters approving of the nature of "The 
Implet." On the ballot papers returned to 
us recently there were also numerous com- 
mendatory remarks, the sum and substance 
of which we print elsewhere. These, like the 



letters which we print from time to time, 
endorse "The Implet" and contain many sug- 
gestions for its conduct. 

"The Implet" is forthwith to be enlarged. 
It is, as we claim upon our page overleaf, the 
moving picture newspaper; absolutely free and 
untrammeled and unbiased. Even the Imp 
films are not getting any more prominence or 
partiality of treatment than other films would 
be if we had the space to notice them in these 
pages. 

"The Implet" addresses the exhibitors 
throughout the world. It is not merely a 
house organ; it is not merely a trade paper; 
it is a moving picture newspaper, its columns 
are open to all — all manufacturers, all exhib- 
itors, all exchanges, even members of the 
public. 

It is necessary to emphasize these points be- 
cause we perceive that in certain of our con- 
temporaries we are occasionally referred to 
as a house organ. Let us refer the reader to 
what we stated on page one, No. 1. "It is our 
intention to make 'The Implet' the most at- 
tractive moving picture publication in exist- 
ence. While necessarily guarding the interests 
of the Imp Films Company, it will not be 
narrow in scope. It will address the exhibi- 
tors, manufacturers and the general public 
throughout the world." That is what we are 
doing and what we will continue to do. 

"The Implet" is one of the most popular moving- 
picture publications in the world. 



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THE IMPLET 

will be made 

a 

BIGGER PAPER and a BETTER PAPER 

next week. 



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THE "IMPLET" 



W)t "Slnqrtet" 

Th« Moving Picture Newspaper 
Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 

Published at 102 W. 101*t St., New York 



SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY. S CENTS 



LADY AUDLEY'S SECRET. 

On Thursday, May 16th, the Imp 
Films Company release a two-reel 
subject, "LADY AUDLEY'S SE- 
CRET." This picture will be as great 
a success as, if not greater, than "FROM 
THE BOTTOM OF THE SEA" or 
"SHAMUS O'BRIEN." 

A word about the book, "LADY 
AUDLEY'S SECRET." It is a novel 
of English society life, which was 
written by Miss M. E. Braddon, some 
thirty or forty years ago, and it 
shares with "East Lynne," "Uncle 
Tom's Cabin" and one or two other 
books, the distinction of being among 
the most popular books ever written. 
It is perennially a best seller. 

"LADY AUDLEY'S SECRET" 
retains the interest of the reader 
from cover to cover of the volume; 
it is a dramatic, poignant, touching, 
and pathetic story appealing direct 
to the heart. 

Now, we cannot reprint the book, 
"LADY AUDLEY'S SECRET," as 
we reprinted the poem of "SHAMUS 
O'BRIEN" for the guidance of our 
readers, but we advise every one of 
them to get hold of a copy of it, or 
better still, buy a supply of them 
cheap and distribute them in their ter- 
ritory. Anybody who reads the book 
will surely want to see the picture. 

Remember, May 16th, the two-ree 
subject, "LADY AUDLEY'S SE 
CRET, founded on one of the great 
est English novels ever written. 



CASTS OF THE IMP PLAYS 

"The Lure of the Picture." 

(Imp Drama. Release, Monday, 

April 29, 1912.) 

Written by H. Brenon and F. Mandel. 

Produced by Otis Turner. 

Antonio Morso W. R. Daly 

Angelica Morso Vivian Prescott 

Pietro Novetti Wm. E. Shay 

Little Angelica Edith Haldimand 

Miss Ann Caldwell, 

Rolinda Bainbridge 



"All for Her." 

(Imp Drama. Release, Thursday, 

May 2, 1912.) 

Written and Produced by Herbert 

Brenon. 

Old Tom George Ober 

Old Will Augustus Balfour 

Mother Lawton. . Rolinda Bainbridge 

Little Elaine Gladys Egan 

Elaine Grace Lewis 

Harold Preston Herbert Brenon 



"Melodrama of Yesterday." 

(Imp Comedy. Release, Saturday, 

May 4, 1912.) 

Written and Produced by F. J. 

Grandon. 

The Villain Harry Pollard 

The Hero Ed. Lyons 

The Persecuted Heroine, 

Margarita Fischer 



"Breach of Promise." 

(Imp Comedy. Release, Saturday, 

May 4, 1912.) 

Written by R. O. Baker 

Produced by W. R. Daly. 

Michael Thompson .. .J. R. Cumpson 

Lizzie Snodgrass Vivian Prescott 

Justice Smith H. L. Mack 

Lawyer Allen Augustus Balfour 



IMP PLAYERS: 

VIOLET HORNER. 

"Now a little life history. I started 
as a church singer, being soprano so- 
loist in different churches; from there 
the stage; a few New York produc- 
tions, and, last of all, pictures, which 
I like best of all." This is Violet 
Horner's own account of her career. 
It is direct and simple, like the girl 
herself. For many months past Imp 
fans have been asking, "Who is that 
nice acting little girl in the pictures 
of whom we do not hear much?" This 
is typical of Miss Horner. She has 
grown into the good graces of Imp 
fans by direct and simple means, that 
is by working hard in the pictures. 
She has made many successes in Imp 
comedies and now and again her 
pleasing face has been seen in an Imp 
drama. Recently she has assumed 
leads. In "A CAVE MAN 
WOOING," to be released on May 
20th, she plays opposite King Baggot. 
It is the part of a girl who is won 
by sheer brute force. She is clay in 
the hands of her pursuer and very 
plastic clay; so plastic, indeed, that 
she scores a remarkable success. 

Miss Horner also plays in the great 
Imp war drama, "THE PERIL," to 
be released on May 30th. In this 
play King Baggot is the military cap- 
tain under suspicion, and Violet Hor- 
ner is his fiancee. This gives the 
young lady opportunity of making 
still further progress in her work. 

I asked Violet the other day if she 
liked her work, and she replied, "I 
just love it." And when you see her 
at work, you realize that she is heart 
and soul in it. Unquestionably the 
girl will be successful along the 
path of hard work in picture making. 

T. B. 




POPULAR 
PICTURES 




OF IMP 
STARS 



The 

Snap 

of the Year! 



Only 

50c. 

per SET 



THINK OF IT! 




THIS complete set of PROCESS PEBBLED PRINTS 
of Imp start for the insignificant sum of 50c. It's the biggest 
bargain and the softest snap ever offered you. Buy one 
set for yourself and you'll quickly see how easy it will be 
to sell other sets to your patrons who are enthusiastic ^^P 

over Imp actors and actresses. Tear off coupon, fill ^^ p 

in the blanks, enclose with the proper sum of 
money to cover as many sets as you want 
at 50c. per set, write your name and 
address plainly and---mau at 
once to the 

IMP FILMS CO. 

t02 W. 101st ST. 

NEW YORK 



Actual Size of Each Photo 

Imp Films 
Go. 

102 W. 101st ST., IEWYORK.N.Y. 

Gentlemen : . 

nclosed find $ for 

which please send sets of 

photos of Imp stars as described in the 
advertisement from which I cut this coupon. 
Yours truly, 



N 



ame 



Add 



reis. 




E^J 




THE LURE OF THE PICTURE 



Copyright 1912 by Imp Films Company 




A prominent artist is the means of separating husband and 

wife, the latter of whom dies in consequence of the 

parting. But in time it develops that though 

separated from him she always 

loved her husband. 



4-29-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



THE "IMPLET" 



u The Faint Heart That Won A Lady" 

Story Founded Upon The Great Imp Comedy "A Cave Man Wooing" 

Release of May 20th 



By THOMAS BEDDING _Ji 

I. 

"It is not so much the gallant who 
woos, as the gallant's way of woo- 
ing." 

If every callow youth who starts 
out to find a bride would bear this in 
mind the art of making love to wo- 
men would be reduced to a simple 
formula, a formula easily applied. We 
should all get the girl we wanted just 
because we would go the right way 
about the job. 

Alan is the pursuing animal. This 
applies throughout creation. It is a 
law of nature. It was found out so 
soon as the globe became inhabited 
by sentient beings. No matter what 
kind of being — fish, flesh or fowl — 
the rule is the same. The "female of 
the species, which is more deadly 
than the male," is best won by brute 
force. 

Poor Samuel Forrester had lived on 
the earth twenty-seven years with- 
out grasping these elementary truths 
as to the pursuit of women. 

Sammy was a nice boy. He grew 
up to be a nice young man. His 
manners were good; he-was always 
flawlessly dressed; he had a smile 
that would not wear off; he parted his 
hair with accuracy as regards right 
and left; his swear-word vocabulary 
was limited to the one awful excla- 
mation, "Bother!" he went to church 
regularly three times on Sunday. 

He was a very good young man. 

And because he was so good he 
was unpopular among young men 
and the women treated him as a lap- 
dog. 

II. 

This is just what women do with 
young men of Sammy's class. When 
Sammy was not a lap-dog he was a 
tame cat. He hung around smilingly; 
he handed tea. with perfect manners, 
he turned over music with all the del- 
icacy and finesse of a tradesman's 
daughter at a finishing school. 

Smoke? God bless you, Sammy 
never thought of it. 

Drink? An impossibility. 

He was as correct in his society 
demeanor as a young clergyman in 
the pulpit giving his lirst sermon. 

Sammy could not quite make out 
why he made such little progress in 
the affections of the girl upon whom 
he had set his capsuled heart. 

For Sammy's heart was a pulseless 
kind of thing encased, so to speak, 
in a colloidal substance. It never 
palpitated. It never sent the blush 
of joy to his face. He had not got 
a heart in the conventional sense. 
Sammy was just a pretty, smiling 
automaton, and lively, young Ruth 
Ellis saw this; so did her brothers, 
and father and mother; so did the 
whole Ellis family, in fact. 

Sammy was too good for any hu- 
man girl with the pulse of life in 
her; for any girl who wanted to be 
loved; for any girl who wanted her 
lips kissed, her waist squeezed, or her 
hand pressed; any girl, in fact, who 
wanted to be loved in a breezy, manly 
way for herself and wholly for her- 
self. It is the way most girls want 
to be loved. 

Isn't it, girls? 

III. 

At last, Sammy, who was not with- 
out brains, fell to wondering in the 
solitude of his own room why Ruth 
did not warm up to him; why he was 
laughed at in a good humored way 
in the Ellis house; sniggered at by 
his friends, and, although called "good 
and pious" by the clergyman and his 
Sunday School associates, neither 
loved nor appreciated by them. 

Then Sammy's brain from a won- 
rmental stage drifted into the 
cause-of-things stage. 

Why was it? 



^Next one of those happy coinci- 
dents that occur to us all at times 
thrust itself under Sammy's notice. 

This particular coincidence was fur- 
nished by the awe-inspiring person- 
ality that sways so many, many 
hearts, Laura Jean Libbey. 

Sammy was a devout student of 
Laura Jean Libbey' s Delphic utter- 
ances on love. But Laura Jean, not- 
withstanding Sammy's patronage of 
her to the extent ot one cent a day 
for a year or more, had not helped 
Sammy any until this moment. 

Hitherto Laura Jean had gener- 
alized to Sammy as she generalized 
to all her readers. 

Now Laura Jean particularized. 

Thus Laura Jean: 

"Women love to be won; they fall 
for strong men; men of action; men 
of courage. Ihese are the kind of 
men women love." 

A light broke in upon Sammy's 
mind. He was not one of this kind. 

Why? 

He had never attempted to do 
brave things. He was no athlete, 
sportsman, soldier, sailor; he was not 
a strong man; he would not harm a 

fly. 

Perhaps it was this very harmless- 
ness, this very goodness of his which 
stood in his way. 

Sammy pondered on this topic for 
several days. Then a marvellous 
change took place in his mind. He 
began to read about the prowess of 
brave men, strong men; of sailors, 
soldiers, warriors and travelers. 

And Sammy suddenly resolved to 
be brave. 

He could not be a soldier, sailor, 
or a traveler; he had to earn his 
money at a dry goods counter. 

But at least he could be .strong. 

The advertisement of a school of 
physical culture started Sammy on the 
road to strength. 

He would get up his courage by 
physical means and make another as- 
sault upon the heart of Ruth. 

Last time he was there he blushed 
at his inability to help move a piano, 
he was so weak. In time he would 
find means to avert such humilia- 
tion. 

He would become strong. 

IV. 

When Sammy, having duly paid his 
fees, made his appearance in Prof. 
Mulligan's School of Physical Cul- 
ture, his impressions were not pleas- 
ing. 

The men he saw there struck him 
as being just brutes. Hall clad 
brutes, with disagreeable methods of 
speech. Sammy was shocked at their 
lack of politeness, their coarse ex- 
pressions, their unbounded hilarity 
and their disrespect for the niceties 
of human appearance. 

They seemed to him to pass their 
time in pounding each other's bodies 
in order that these said bodies might 
be deformed out of recognition. That 
was Sammy's first impression of ex- 
ercising with the boxing gloves. Then 
the men seemed to leap over bars, 
punch swinging balls, jump about, 
contort and distort themselves in the 
most eccentric and aimless fashion. 

Sammy's first impulse was to quit 
the school of physical culture as a 
very uncomfortable institution. 

Indeed, he was on the point of 
going when the little spark of man- 
hood in him was fanned into a flame 
by the soothing assurances of Prof. 
Mulligan that he had got "the mak- 
ings of a white 'ope in him." 

Sammy was patriotic and objected 
on general principles to the pugilistic 
pre eminence of Jack Johnson. 

He objected to negro pre-eminence 
in anything. 

And animated by the hope that he, 
too, might, one day, be able to down 



the redoubtable Jack, he yielded to 
Prof. Mulligan's blandishments and 
donned the mittens. 

Sammy, "donned the mittens"! ! ! 

He stripped to his waist in ap- 
proved fashion. Then the professor 
got busy on Sammy's physiognomy. 

Sammy got a terrible drubbing. 

His long hair obscured his vision; 
he struck out wildly; the professor 
tapped him; the other people in the 
school looked on and smiled — and in 
ten minutes Sammy collapsed, being 
brought to by a pail of water and 
some towels. 

Sammy's first appearance in the 
school of physical culture was ludic- 
rous. 

Were it not for Laura Jean Libbey 
and the possibility that Prof. Mulli- 
gan's school might make a certain 
path to the heart of Ruth Ellis, Sam- 
my would have quit right there. 

But Sammy stuck to the school. 

V. 

Sammy stuck so well to the school 
that those in his home began to 
know him not. He kept his own 
counsel, however. 

To the Ellis family, he began to 
look rather graver and liner drawn 
than hitherto. His smile seemed less 
obvious. 

Sammy was working hard. He was 
working so hard that a rival was mak- 
ing inroads into Ruth's heart. 

But with the accretion of physical 
prowess Sammy began to get an in- 
crease in worldly wisdom. 

He now found that women are mys- 
tified by silence. He could see that 
his changed demeanor and fewer ap- 
pearances at the Ellis home were set- 
ting Ruth and her family wonder- 
ing. 

So he let them wonder. 

Three months sped by. Sammy got 
his money's worth at the school of 
physical culture. Now he could down 
Prof. Mulligan in three rounds. 

Sammy was a man at last. 

One evening in the Ellis home, 
without previous warning, he began 
moving things about in such a surpris- 
ing manner that he gave them the im- 
pression of being a giant — a man sud- 
denly endowed with miraculous pow- 
ers of displacing the heaviest articles 
with the least effort. 

He threw his rival aside, and insist- 
ed upon Ruth playing what he wished 
her to play. 

The girl did so wonderingly. The 
whole family looked upon Sammy as 
a being other than the one they had 
hitherto known as a harmless appan- 
age. 

VI. 

It is a scientific fact that a healthy 
body is the best way to assure a 
sound mind. 

Sammy had the one and the other 
was not slow to follow. 

He had made strong play for Ruth 
for the past eighteen months with lit- 
tle progress. He meant having the 
girl, notwithstanding parental ob- 
jections, and the fact that his rival 
was making progress in her affec- 
tions. 

One night the astonished Ellis 
family beheld the extraordinary Sam- 
my imitating Samson in his strength. 
He lifted the slender girl, Ruth, in 
his arms, walked out of the house 
and in a few seconds had dumped her 
into a waiting automobile. Off he 
bore her to the home of a conveni- 
ent clergyman whose services Sam- 
my had previously bespoken, and 
there the knot was tied. He had got 
the license the week before, had ter- 
rorized the girl into acquiescing. 
Ruth, in fact, for weeks past had 
lived in a kind of dread of Sammy. 
lie had, in the cant phrase, hypno- 
tized her. 



She had been unconscious of the 
change which had taken place in him 
and was also unconscious of the 
change that had taken place in her- 
self. 

The smiling, willing man of the 
drawing room, which Sammy used to 
be, had been gradually transformed 
into the hardened, well-set, calm, de- 
termined, husky fellow who, though 
he did not fawn and smile upon her 
as in the old days, was still never 
long absent from her side. 

So when in defiance of modern con- 
ventionality he had borne the girl 
off and was forcibly married to her 
she had acted like one in a dream. 

It was only when the ceremony 
was concluded that she woke up to 
realize that she was married actually 
and in fact to Sammy. 

VII 

There was a pursuit, of course. 
The family were after Sammy; so was 
his rival. They broke in upon him 
and his new bride within an hour of 
the celebration of the marriage. 

Sammy leaned back in his chair an 
unconcerned young giant. 

And what did the new wife do? 

What do y r ou think? Did she wel- 
come her parents and lover? 

Not a bit of it. She just sent them 
all about their business. 

She was married now; she was a 
wife; she was free. 

She had never thought of all this 
before. The idea! To think that 
these people should dare to come be- 
tween her and her husband. 

It was preposterous! 

So there was nothing for the fam- 
ily and the unsuccessful suitor to do, 
1ml to depart, and leave the suddenly 
muted couple to their fate. 

VIII. 

The concluding chapter of this 
strange romance is, of course, the 
strangest of all. 

Sammy exulted in the pride of pos- 
session. 

lie had triumphed; he had won the 
girl as Lochinvar of old had won his 
bride — he had borne her off from 
friends and parents. 

And, would you believe it, never 
until this minute had it entered the 
mind of Ruth that she really cared 
for Sammy. 

When Sammy reminded her of the 
fact, that now they were married it 
was her duty to love him. She had first 
recoiled from the mere suggestion. 
Yet, strange as it may seem, when 
Sammy told her that if she did not 
care for him; if she did not love him; 
she was free to go back home — he 
was satisfied to have won her in his 
own way because he loved her — when 
Sammy told her all this, the girl, in a 
flash, realized that she could not pos- 
sibly go away from him; that she 
never wanted to leave him; that she 
loved him. 

So she fell into his arms and then 

they were happy. 

* * ' * * * * 

This is an unconventional love 
story. It has a moral; most love 
stories haven't any moral. 

In this story you will see that the 
love-making does not commence until 
after marriage. It is a case of cause 
and effect. 

If 1 wanted to get married, I would 
go after the girl pretty much in the 
same way as the renovated Sammy 
went after Ruth. 

It seems to be about the surest 
way of making a girl really fall in 
love with you, so that you can omnt 
on lots of connubial bliss after the 
knot is tied. 

Which is something of a change in 
the usual order of thing-, otherwise 
there would not be so many divorces, 
would there? 




ALL FOR HER 



Copyright 1912 by Imp Films Company 




Two old musicians befriend an orphan girl who, herself, 

becomes a famous musician thanks to the efforts 

of her good natured benefactors. 



5-2-12 



i > fHREE IMPS 



IMP FILMS COMPANY 



102 West 101*t Street, New York 



Carl Laemmle, Pres. 



VtiREE IMPS 
■ EVERY WEEK* 



THE ADVENTURES OF MR. ALMOST BUTT 

Copyright 1912 Gar] Laemmle 7 

He ALMOST Gets a Great Moving Picture This Time, BUT— 



NOW, IF VOU FEEL 
ANY KIND OF A 
BITE PULL AWAY 

AMD WAKE LOTS 
OP MOTIONS 



ttAW.' haw! 
' 6or am old Boot? 

WELL, IT'LL LOOfc 
LIKE A SHAfeK 
IN THE - 




"The Implet" Wants a Picture 
of You and Your Theatre. 

Mr. Exhibitor: We want your pho- 
tograph, and we want a photograph 
of your theatre. Send us either or 
both, and we will find a corner for it 
or them in "The Implet." 

We Invite Criticisms of "The 
Imp" Pictures. 

Whenever you see anything in an 
Imp picture calling for criticism or 
comment, sit down at once and write 
us what is on your mind. We invite 
your opinions on our pictures and will 
publish them. Let us know what you 
think. Say it with as few words as 
possible. What we would like to do 
every week is to devote a column of 
"The Implet" to publishing the opin- 
ions of Imp exhibitors on Imp pic- 
tures. There's a double reason for 
this. Your criticisms will help us to 
help you. That is the principal object 
of "The Implet." 



PLEASE OBLIGE THE IMP 
WITH THE FOLLOWING 
INFORMATION 
We want each reader of The 
Implet to tell us the names of the 
Independent Theatres in his city 
which exhibit first run, second 
run and third run Imps. 
Send us this information as quick- 
ly as possible. 

A postal will do with the names 
and addresses of the theatres. 
Just address The Imp Films Com- 
pany, 102 West 101st St., New 
York City, and write on the back 
of the card the name and ad- 
dress of the theatre, and say, as 
the case may be, 
First Run, 
Second Run or 
Third Run 

Tell us, in short where, when, 
and how Imp Pictures are shown. 
Mr. Exhibitor, please oblige the 
Imp in this 'matter so that the 
Imp may, in turn, help you. 



SEA PICTURES ON THE SCREEN 

The life of the sea, when shown on 
the screen, is always immensely pop- 
ular with any audience, especially 
American audiences. The United 
States has the greatest coast line of 
any country in the world; but it has 
a comparatively small mercantile ma- 
rine. Its navy, however, is one of the 
greatest in the world, thus indicating 
the love of the people for the life of the sea. 

Still there are many millions of 
people in the country who have never 
been near the coast; they know noth- 
ing of the life of the sea excepting 
what they read. To them such re- 
leases as "ON THE SHORE," Mon- 
day, May 6th, and "THE RETURN 
OF CAPTAIN JOHN," Thursday, 
June 6th, should make a peculiar appeal. 

In "ON THE SHORE," we tell the 
story of a squatter fisherman, who is 
about to be dispossessed by a rich 
company that wants his little home 
for the purpose of enlarging a dock. 
There is a quarrel; the fisherman is 
arrested for wounding the manager. 
It looks as though he would be sent 
to jail, but his pretty daughter inter- 
venes and the fisherman's home is 
saved; the manager falls in love with 
the daughter. 

In this picture there is shown some 
of the characteristic incidents of a 
fisherman's life on the coast. The 
daughter is a net-mender. The other 
characters in the play are toilers on 
the deep. It is a picture that will ap- 
peal to people, therefore, in virtue of 
the nature of its subject — the sea. 

Then "THE RETURN OF CAP- 
TAIN JOHN," which was turned into 
a story of No. 12, is also a sea subject 
of singular beauty. The story was 
told graphically and fully in No. 12 
of "The Implet." What was not said 
in the story was that the film exhib- 
ited some of the most magnificent ef- 
fects of marine photography ever 
shown on the screen. There are 
scenes along the coast; wave sub- 
jects; portraits of fishermen; interiors 
of fishing huts — in fact, the entire 
film is redolent of the atmosphere of 
fishing life. 

The reader should make a special 
note to get these two releases and 



feature them as sea stories. A sea 
story, as we have already said, al- 
ways attracts and gives opportunity 
for the introduction of such wonder- 
ful effects and good music. 

Remember, then, "ON THE 
SHORE," Monday, May 6th; and 
"THE RETURN OF CAPTAIN 
JOHN," Thursday, June 6th. 

Real Photographs 

OF 

Imp Favorites 

We have for disposal a few 
real photographs (that is beau- 
tiful surface prints) of some of 
our Imp players. There is King 
Baggot, whose picture is \\ 3 /i 
x 9y 2 ; there is W. R. Daly rep- 
resented on a 9 x 7 picture, and 
H. S. Mack also a 9 x 7. The 
number of these photographs 
is limited. They are as good as 
the celebrated theatrical photo- 
grapher, White, of Broadway, 
can make them. We are selling 
them at 15 cents each. Send 
your orders, and the money to 
cover cost, to the Imp Films Co., 
102 West 101st Street, New 
York City. 



THEATRICA L MANAGERS 

FIGHT STARS WHO POSE 

FOR PICTURE HOUSES. 

Reports have gone out that actors and 
actresses are being given warnings not 
to appear for the moving-picture films. 
It is said that the example of Mildred 
Holland, Mabel Taliafero and Nat Good- 
win has caused the trouble to the man- 
agers of the legitimate attractions. Good- 
win is interested in a moving-picture 
manufacturing establishment. 

The managers charge that the mov- 
ing-picture houses advertise presenta- 
tions of stars at times when they are 
appearing in cities at the legitimate 
prices. The managers have, therefore, 
announced that those appearing for the 
moving pictures will not be eligible for 
the big producers. 



Brickbats and Bouquets 

This is the title of a book which 
we are mailing free to any one 
who will take the trouble to 
write for it to The Imp Films 
Company, No. 102 West 101st 
Street, New York City. It is a 
book of about 60 Pages, and the 
contributors to it are Independ- 
ent exhibitors all over the 
United States and Canada. This 
is how we made the book: We 
sent out a circular to exhibitors, 
asking them if they were, or 
were not, in favor of Three 
Imps a Week. We also asked 
them to state their reasons one 
way or another. 

The replies came in by the 
hundred. There is an over- 
whelming desire for Three Imps 
a Week; and the reasons why 
are given. The majority want 
comedy; some want industrials, 
some want dramas, and others 
want educational. But ALL — or 
NEARLY ALL— want Three-a- 
Week. And since December 
they have had them. But the 
book is of general, as well as of 
particular value. We have 
printed the "Brickbats" as well 
as the "Bouquets." We have 
been fair in the interests of The 
Imp Company; we are fair in 
the interests of the general film 
business. Mr. Exhibitor and Mr. 
Exchange Man, let us send you 
a copy of "Brickbats and 
Bouquets." 



^^ 



BREACH OF PROMISE 



Copyright 1912 by Imo'Filmt Company 



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An amusing comedy of cross purposes. The man and the 

woman each thinks the other has money. Both are 

undeceived and finally part after many 

mirthful adventures. 



5-4-12 



ON THE SAME REEL: 



MELODRAMA OF YESTERDAY 

A TRAVESTY ON OLD TIME STAGE PLAYS 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



THE "IMPLET" 



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Splitting the Splits! 

(By Carl Laemmle) 

Saturday split Imps are an expensive proposi- 
tion for us to produce. But you demanded them of us. 

So we made good. It is now up to you to turn about and demand them of your 
exchange while you are demanding the Monday and Thursday Imps. If every- 
body, in all branches of business, showed as much desire to give you what you 
want -&§ the Imp does, you'd have easy sailing. But, inasmuch as you don't 
always get what you ask for, it is up to you to use the power you possess — and 
demand, demand, demand ! 

Splits are costly from the very beginning. 

Two scenarios have to be bought, in the first place. 

Then, under the Imp system, each story is produced as though it were intended 
for a full thousand-foot reel. It is harder and takes more time to show up a good 
story in 500 feet than in a thousand, because we have to boil and boil and boil. 
After producing a comedy of a thousand feet, we boil it down to 500 feet; we 
go through the same process with another story. Then we hook the two together 
and get a full thousand-foot reel, split into two complete stories, enacted as a 
rule by two different stock companies, under two different stage directors. At the 
same cost, by not boiling down the two stories, we could secure two complete 
reels instead of one. But you say "Give us splits." 

And you are right. Splits are a splendid thing 

for you and your exchange. By using half of a split reel 

on your busy days, Saturday and Sunday, for example, you can shorten your show 
and thus give more shows to more people without cutting down your variety. You 
and your exchange are the people we seek to please. Hence, split Imps every 

Saturday, no matter what they cost. It is only fair and square that in return for this you should dei?iand 
that the very things we have produced especially at your demand be a part of your weekly program. 
It is only fair that you should get three Imps every week, because they are unquestionably the best 
in every respect — best in acting, best in photography ', best in plot, and — best in pulling power. 

(Next week's installment: — " Three for Three." ) 





The New York Convention 



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"The Implet" has received exclusive news 
from President Xeff, who so ably engineered 
the recent Dayton convention to a conspicuous 
success, that a State Convention of moving- 
picture exhibitors is to shortly be held in Xew 
York City. 

There already exists in Xew York a healthy 
and progressive Exhibitors' Association, which 
held a successful session a few weeks ago. 

But it is only right and proper, now that 
the convention spirit has seized hold of mov- 
ing-picture exhibitors, that Xew York, the Em- 
pire City of the American continent, should 
be early on the list of convention centers. It 
is known, of course, that a Xational Conven- 
tion is to be held in Chicago next Julj r . That 
convention will be all the stronger, we feel. 
if the exhibitors here in the East get together 
beforehand and arrive at a basis of outlook 
with regard to their common interests. 

From the Independent standpoint, we cor- 
dially welcome the holding of a State Con- 
vention of moving-picture exhibitors in Xew 
York City. We are not writing this in any 
partisan spirit, but in the general interest of 
the business. The promotion of the general 
interests of the business necessarily means that 
we of the Imp Films Company get our share 
of it. That is what we are working for. con- 
sequently we cannot be accused of any sinister 
motives in boosting the proposed convention. 
We want to see it a success for the sake of 
the exhibitor, collectively and individually, be- 
cause, as we have stated, his success and inde- 



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pendence necessarih- means our success in in- 
dependence. 

The exhibitor, as we are insisting week by 
week, is the master of the film situation, and he 
is only just beginning to realize his value and 
importance in the business. He is doing so by 
attending the various conventions that have been 
held during the last nine months. He is now 
articulate : his voice is heard, his wishes noted. 
A year ago the exhibitor was powerless : now he 
is powerful. 

In the not distant future we expect all the 
exhibitors of the country, by means of a Fed- 
eration of the various State associations, to be 
molded into one homogeneous body. 

X'ow, if the exhibitors of Xew York City and 
State, Xew Jersey and Pennsylvania, and the 
other states right here in the East, will get to- 
gether at the proposed Xew York Conven- 
tion, which is to be held within the next few 
weeks, we feel that a tremendous step for- 
ward will be taken here in the East towards 
independence. 

For. as we have said over and over again, in- 
dependence of spirit in the business will mean 
the aggrandizement of independent quality of 
picture. It will stimulate the manufacturers to 
do better and better in their work, so that 
as time goes on we shall hear less and less of 
the reproach that the Independent-made mov- 
ing picture is not so good as its trust rival. 

Particulars of_. fhe^Xew York State Con- 
vention will be dul}' Announced in "The Imp- 
let." 

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THE "IMPLET" 



Cfje "ampler" 

The Moving Picture Newspaper 

Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 

Published at 102 W. 101st St., New York 

SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY, 5 CENTS 



THE LATE W. H. HARBECK. 

"The Implet" desires to record its 
sorrow on the death of Mr. W. H. 
Harbeck, of Seattle, who perished 
when the Titanic floundered on Sun- 
day, April 14th. Mr. Harbeck was 
one of the ablest moving picture men 
in the world, and while comparatively 
young, had succeeded in making a 
great name for himself in the scenic 
moving picture work he undertook 
for the Canadian-Pacific Railroad. He 
was about to extend his interest in 
the moving picture field. He was so 
good a man in business and person- 
ally that his loss will be felt for many 
a day. 

MAYOR GAYNOR OF NEW YORK 
IN AN IMP PICTURE. 

An early Imp release will show Mr. 
Gaynor of New York in an Imp pic- 
ture. The Imp Films Company has 
secured a very excellent photograph 
of Mr. Gaynor, emerging from City 
Hall at lunch time and making his 
way to the Hardware Club, the centre 
of interest of a large crowd. 



The Imp Films Company's recent 
pedestrian release, "The Bradhurst 
Field Club Four-Mile Run," has sud- 
denly acquired unexpected interest for 
American athletic circles. It is al- 
leged that Wood, an English profes- 
sional foot-runner, impersonated Hal- 
ligan of the Glen Cove Athletic Club 
in the race. 



INDEPENDENT RELEASE 
DATES. 

Sunday — Eclair, Gaumont, Rex. 

Monday — American, Champion, 
Imp, Nestor. 

Tuesday — Eclair, Powers, Republic, 
Thanhouser. 

Wednesday — Ambrosio, Champion, 
Nestor, Reliance, Solax, Animated 
Weekly. 

Thursday — American, Eclair. Gau- 
mont, Imp, Rex. 

Friday— Bison 2-Reel Subjects, Lux, 
Solax, Thanhouser. 

Saturday — Great Northern Imp, 
Powers, Nestor, Republic, Reliance. 



CASTS OF THE IMP PLAYS. 

"ON THE SHORE." 

(Imp Drama. Release, Monday, May 

6, 1912.) Written and Produced 

by F. J. Grandon. 

Tom Morgan Harry Pollard 

Bess Morgan Margarita Fischer 

A. J. Ganning E. J. Le Saint 

Constable Cable Ben Horning 

"THE LAND OF PROMISE." 

(Imp Drama. Release, Thursday, 
May 0, 191.1) Written by A. '■ ly- 
choff. Produced by E. J. Le Saint. 

Jose Harry Pollar I 

Juanita Margarita Fischer 

Peter Vipond Ben. Horning 

"THE STAFF OF AGE." 

(Imp Drama. Release. Saturday, 
May 11, 1912.) Written by H. V. 
Sarno. Produced by F. Thomson. 

Lawrence Shea F. Ober 

Freddy Shea Joe Moore 

The Magistrate Win. Welsh 

Policeman R. Dillon 

"LET WILLIE DO IT." 

(Imp Comedy. Release, Saturday, 
Mav 11, 1912.) Written by S. Frank- 
lin." Produced by J. W. Walsh. 

Willie Trainer J. R. Cumpson 

Mrs. Evans Nellie Force 

Laura Evans Grace Lewis 



EXPORTS AND IMPORTS OF 
MOVING PICTURE FILMS. 

Scores of aeroplanes, thousands of 
automobiles and millions of feet of 
motion pictures film appear among 
the articles forming the foreign trade 
of the United States for the current 
fiscal year. The motion picture film 
imported and exported will amount 
to 75 million feet in length, or suffi- 
cient to reach more than halfway 
round the world. 

The large proportion of this trade, 
as to aeroplanes, automobiles and 
motion picture films, occurs in ex- 
port. Of motion picture film the im- 
ports in the eight months aggregated 
8,978,284 feet, valued at $516,407; 
while the exports aggregated 49,672,- 
781 feet, valued at $3,927,097. 

The distribution of exports and 
sources of imports of aeroplanes and 
motion picture film are only avail- 
able for the six months ending with 
December, 1911. Of the 42 million 
linear feet of motion picture film ex- 
ported in the six months ending with 
December, 37 million were sent to 
England, 3 million to Canada, a half 
million each to France and Brazil, 
and smaller quantities to the Philip- 
pine Islands, Australia, Japan. New- 
foundland. Panama, Bermuda and 
other countries. A large proportion 
of the motion picture film exported, 
more especially that to European 
countries, goes in form ready for ex- 
posure, the United States being now 
the principal film manufacturing coun- 
try of the world. That imported is 
chiefly film which has been exposed, 
developed and ready for exhibition. 
Of the 6]/ 2 million feet imported in the 
six months referred to, 3*4 million 



were from France, 1 1-3 million from 
Italy, 1 million from England, two- 
thirds of a million from Denmark, and 
a quarter million feet from Germany. 
Amongst exports of American-made 
films the "Imp" films figured very largely. 



MOVING PICTURES: HOW THEY 
ARE MADE AND WORKED. 



By Frederick A. Talbot. Illustrat- 
ed. Philadelphia. Published by J. B. 
Lippincott Co. Price, $1.50. 



A book of the moving picture has 
yet to be written, and I think the 
man to write it is this reviewer. In 
the year 1897 I wrote in the British 
Journal Photographic Almanac a se- 
ries of chapters on animated pho- 
tography. These were reproduced in 
The Moving Picture World of 1910. 
So far as I can trace, I am the old- 
est living writer (and I am not so 
very old at that) dealing with the 
moving picture in its theoretical and 
practical aspects. There is not, I be- 
lieve, anybody in the United States, 
or in Europe, who started in to write 
about the picture before I did. If 
there is, and he will let me know and 
prove priority, I will cheerfully give 
him the credit which is his due. 

I have exposed pictures; acted in 
them; developed them. Only six 
months ago I was making titles, so I 
claim to know at least something 
about the subject. 

Knowing that. I think Mr. Talbot 
has missed a good opportunity. Other 
excellent writers have gone before 
him. For example, there is the class- 
ical volume by Marey on Le Mouve- 
ment: this was published in 1894. In 



1899 Cecil Hepworth published a prac- 
tical book, called "The A B C of the 
Cinematograph." You can still buy 
this for 50 cents in the United States. 
Then, of course, there is THE book 
which deals with the history and 
patents of the subject, "Living Pic- 
tures," by Henry V. Hopwood, of the 
British Patent Office. Mr. Talbot 
seems to ignore these volumes. This 
is a pity, because they are all better 
than his, and he could have found a 
whole lot of valuable, practical infor- 
mation to incorporate in his 1912 vol- 
ume. 

Nevertheless, Mr. Talbot is read- 
able; and entertaining, if superficial. 
The book is one to be placed in the 
hands of the general reader rather 
than of the specialist. It has numer- 
ous illustrations; tells how trick pic- 
tures are made: starts in from the 
time when R. W. Paul, in London, 
began to make pictures in 1896, and 
deals with the subject lucidly from 
the standpoint of an English book- 
maker writing in London. Mr. Tal- 
bot endeavors to tell his reader what 
has been accomplished in moving pic- 
ture progress in the United States. 

I can cordially recommend the vol- 
ume to any reader of "The Implet" 
who wants a good, readable book 
about the moving picture — not too 
abstruse, not too scientific, not too 
hard to assimilate. It is entertaining 
and popular. 

But a book dealing with the nice- 
ties of the subject; that is, the op- 
tical, chemical, mechanical, and other 
aspects, and above all things, the in- 
timate, practical details of everyday 
picture-making and production, has 
I yet to be written. 



POPULAR 
PICTURES 



OF IMP 
STARS 



The 
Sn 
of the 



Only 

50c. 

SET 




IP< 



ON THE SHORE 



Copyright 19! 2 by Imp Films Company 



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A squatter fisherman is about to be dispossessed from his shack, when 

he quarrels with the manager of the Dock Company, and wounds him. 

By the intervention of his daughter, with whom the manager falls 

in love, the father is forgiven and is allowed to remain 

unmolested in his dwelling. 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



5-6-12 



22S£££IMPS 
'EVERY WEEK.* 



4 



THE "IMPLET" 



The Rex Theatre, Salt Lake City 



- 



The Implet congratulates W. H. 
("Bill") Swanson on the successful 
opening of the New Rex Theatre. Salt 
Lake City. This beautiful theatre is 
thus locally described: 

"It is seldom in the West that as 
much money is put into the construc- 
tion and decoration of a theatre de- 
voted to vaudeville and motion pic- 
tures as has gone into the Rex. Con- 
structed of steel and concrete and ab- 
solutely fireproof, the new theatre 
stands on the ground formerly occu- 
pied by the Daniels Theatre. In the 
erection of the new building some 
features heretofore untried locally in 
theatre building have been incorporat- 
ed in the finishing that should go far 
toward making the house popular. 
For one thing, there is no balcony or 
gallery, and yet the seating capacity 
of the house is 1.650 persons. There 
is not a post or an arch to obstruct 
one's view of the stage from any 
seat in the theatre, and every seat is_ 
within excellent hearing distance of 
the stage. The auditorium runs back 
from the stage in a great, gentle slope 
that affords a splendid view of the 
former and makes it possible to empty 
the house in record time. 

"As one enters the Rex from State 
street, he passes the two ticket stands 
in the lobby. The latter squares 
away its sides with great French mir- 
rors set to a height of eight feet, and 
forming on each side of the lobby of 
the Rex one continuous mirror. Pass- 
ing into the foyer, one finds an ele- 
gantly finished room flanked by the 
features that promise to make the Rex 
popular with the mothers — a ladies' 
retiring room in charge of a ladies' 
maid, a day nursery with an attend- 
ant, and in the latter room are the 
baby cribs that have been installed to 
take care of the babes in arms whose 
mothers want to witness the show and 



yet feel that their babies are properly 
cared for. No charge is made for this 
duty. 

The foyer is finished in much the 
same color scheme as the auditorium. 
The latter is a riot of quiet color and 
beauty, and certainly is the handsom- 
est and most costly interior finishing 
to be found in any Salt Lake Theatre. 
The walls contain great panels that 
are hand painted, and the heavily 
beamed ceiling is done in a soft 
French gray, with ivory and gold 
trimmings that gives the whole a won- 
derfully rich effect. 

"But tasteful as are these decora- 
tions, the interest of those playgoers 
who thus far have visited the Rex 
centers in the great organ, whose 
tones swell out into the auditorium 
with a beauty and effect that is match- 
less. The organ is to be a regular 
feature of all the bills, Edward Kim- 
ball, assistant organist at the Taber- 
nacle, having been retained to pre- 
side at the instrument. The latter is 
said to be the most costly soloist or- 
gan ever installed in a theatre in this 
country. 

"The featured two-reel motion pic- 
ture changes each Sunday at the Rex, 
running then on through the rest of 
the week. Six reels are to be run in 
all every week, and the other four will 
change on Saturdays, Sundays. Tues- 
days and Thursdays. 

"William Swanson, president of the 
Swanson Film Company, controls the 
Rex Amusement Company, proprie- 
tors of the Rex. and to Mr. Swan- 
son's genius for organization and re- 
sults is due the success of the open- 
ing of the new house and its modern 
fireproof construction, together with 
the innovations found there." 



The Identification of Plots 

By Augustus Thomas 



In his evidence on the Townsend 
Bill amending the Copyright Law, 
Air. Augustus Thomas is quoted as 
saying that he believes some kind of 
a Bertillon system of identification 
for plots can be devised which will 
make it possible to file in a card in- 
dex all the plots in the world. Were 
this done, there could be no innocent 
infringement. Air. Thomas illustrated 
what he meant by the following: 

"If I could tell you gentlemen of a 
general in the army who had married 
a girl much too young for him, and 
had done so after he had had an af- 
fair with one of the ladies of the post 
who was married to an officer of his 
regiment, a captain: but the captain, 
learning this, had condoned the of- 
fence, but had not quite forgotten it, 
and he, seeing a chance to besmirch 
the reputation of this young wife, 
had done so, and the facts coming to 
the ears of the general, he killed her — 
you gentlemen may have some diffi- 
culty in recognizing the scenario in 
that as Othello, but no expert in the 
theatrical business would stumble over 
it at all. So. if these gentlemen will 
take the same trouble to examine the 
plays that are on file in the copyright 
department as they take to read the 
bureau of exchanges, I think a great 
deal of that apprehension up there can 
be eliminated." 

Mr. Thomas said that the task of 
identifying plays is, relatively speak- 
ing, a very simple one. "Considered 



generally," he said, "there are only a 
certain number of situations. There 
is the situation of revenge, the situ- 
ation of rescue, the situation of sacri- 
fice, the situation of condonation, and 
so forth." The situations of sacrifice 
can again be subdivided: a man, for 
instance, can sacrifice something ma- 
terial, something intellectual, or some- 
thing spiritual. He can make his sac- 
rifice for one of several different 
things: for a parent, for a child, for a 
wife, or relative, or for some other 
object. 

System of Identification. 

In other words, according to Mr. 
Thomas' theory, all you have to do is 
to separate a play into its constituent 
parts and you have a set of facts 
which is peculiar to that play, and 
which will identify it to the end of 
time — facts which cannot be dupli- 
cated in the same combination with- 
out, in effect, infringing upon the 
original. 

Under the proposed arrangement, a 
three or four-act play might have five 
situations in a sequence which might 
be mathematically expressed by the 
series of five figures — 67312. The 
chances of a second man guessing the 
patented number would be 99998 
against success, and if a play were 
registered under the number above 
used, and another person found to be 
presenting it, the chances would be so 
great against him as to be practically 
certain of convicting him. 



A PICTURE RECORD ASSOCIA- 
TION. 

The Modern Historic Records As- 
sociation has been formed for the pur- 
pose of making use of motion pictures 
and the phonograph in the work of re- 
cording history. 

The honorable president of the new 
organization is President Taft; the 
acting president is Herbert L. Bridg- 
man, of Brooklyn, and the other offi- 
cers and directors are: Vice-presi- 
dents, Rear Admiral R. E. Peary, 
Justice Victor J. Dowling. Dr. George 
F. Kuntz. John Barrett. Col. D. L. 
Brainard, U. S. A.: Alexander Konta; 
treasurer, Louis Mansfield Ogden; 
secretary, William Trowbridge Lar- 
ned: assistant secretary, Chloise 11. 
Lee. 

The new organization intends to 
make it possible for the future his- 
torian not only to record the fact that 
a battle took place at a certain place 
and on a certain date, but to be able 
to reproduce the actual scenes of the 
conflict. 

These are not to he imaginary pic- 
tures, but to be actual reproductions 
by means of the moving picture cam- 
era. 

As an indication of the scope of this 
newly formed organization it may be 
said that it is the intention of the 
managers of it to erect fireproof 
buildings for the storage of its rec- 
ords, these buildings to be located at 
various points throughout the country. 



A PLEA FOR AN ENDOWED 
MOVING PICTURE THEATRE. 



I By E. V. Brewster, Editor of "The 
Motion Picture Story Magazine."] 
In spite of innumerable buffs and 
rebuff-, moving pictures still thrive. 
We who have watched their evolution 
from the crude novelty of twenty 
years ago to the artistic photoplay of 
to-day must now be convinced that 
ilent drama is not a mere fad. 
but a. permanent institution of great 
power for good or for evil. Prudes. 
Did preacher- have railed 
l it a- a da PG ihing: or- 

ganized efforts have been made to 



crush it, the pulpit and press have 
condemned it, and yet the photoplay 
ha- pushed onward through it all. 
until now it is finally intrenched as 
the "people's drama." 

The decadence of the stage and the 
low estate to which vaudeville has 
fallen were somewhat responsible for 
the rapid rise in popular favor of the 
silent drama, but aside from tlii- it 
lives because it deserves to live. Most 
Xew Yorkers have a very meagre idea 
of the advances this art has made in 
recent years. Those who live in the 
Southern or Western cities and vil- 
lages and who ride to the show at- 
tired in evening dress in their car- 
riages or automobiles to see "A Tale 
of Two Cities," "Enoch Arden." "Van- 
ity Fair," and other high-class photo- 
plays have an entirely different im- 
pression of the photoshow than have 
we Easterners. * * * 

All this leads me to -ugge-t an en- 
dowed motion picture theatre. 



IMP PLAYERS. 



H. S. Mack. 

II. S. Mack, of the Imp Films act- 
ing forces, is in a class by himself. 
He. in real life, is quite undemonstra- 
tive and notoriety avoiding. This 
gives some clue to the kind of »arts 
for which Mr. Mack inevitably finds 
himself cast in the Imp plays. Be 
sure that whenever there is a part de- 
manding true humor and quiet acting 
of the funny kind, Alack will be there. 
He is familiarly known as "Red 
Mack." Me is popular and industri- 
ous: his repertoire is a varied one. 
He was the wireless operator in the 



picture, "Rescued by Wireless," now 
to be seen at the theatres. He, in 
two or three Imp comedies, gave an 
excellent modern embodiment of Sher- 
lock Holmes. He is alternately a doc- 
tor, a man about town, a distinguished 
guest, a clergyman; in fact, there is 
hardly an end to the variety of parts 
that Air. Mack plays in his quiet, un- 
obtrusive way, 

ATr. Alack is a painstaking actor, as 
any picture fan who studies his work 
can see for himself. He is skillful in 
the art of "make-up" and disguise. 
Being young, he has a vista of oppor- 
tunity in front of him of adding still 
further laurels to his name. 



DOG VS. MOVING PICTURES 
"Hereafter," said a Yonkers com- 
muter, "when I attend a moving pii 
ture show, I will take pains to see 
that my collie Jack is securely fas- 
tened at home. The other evening 
Jack contrived to get past the ticket- 
taker and followed me to my seat. 
He was quiet and interested with the 
various scenes until a highway rob- 
bery was thrown upon the screen. 
Then he became restless and began 
to whine. 

"When the actors were seen creep- 
ing near their intended victim he 
growled. 1 clutched his collar, but 
when the man was actually attacked 
Jack barked and. breaking away from 
me, dashed up the aisle, bounded over 
the orchestra railing, and did his best 
to spring upon the pictured robbers, 
lie wanted to tear them to pieces. 1 
don't know what he would have suc- 
ceeded in doing if there had been no 
interference. Somebody had presence 
of mind to turn on the lights. That 
made the pictures fade, and Jack, still 
growling, rejoined me where I was 
sitting. Jack lias no use for robbers, 
and a pictured one i-. just as bad to 
him as the reality." 





• . • 



THE LAND OF PROMISE 



Copyright 1912 by Imp Films Company 





A young Mexican couple migrate to Southern California and after being 
suspected of cattle rustling, find occupation and contentment 

in their new surroundings. 5 912 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



i >fHREE IMPS 



THE KWWTVm OF MR. ALMOST BUTT 

CoDVnehl 1912 Car] Laemmlo 7 



Copyright 1912 Chr] Laemmlc 



He ALMOST Gets a Great Moving Picture This Time, BUT 



I'M MAKINfe A 
FILM CALLED A 
CftOOK FOILED, 
CAN YOU ACT OU 
A THIEF PART 
TRUE TO 




CREEP UP SLOVU AND 
5AVA&C LIKE, AS IF 
YOU WEfiE SOIN&TO 

Bite a chums, out of 
THAT £AF€ 






Pinched pese 

DeSPfelT CeiM/NAL5 

Si m&le handed 




tiNRANE 



A GOOD SUGGESTION. 

April 16th, 1912. 
To the Editor. 

Sir: It's all very well to "holler" 
for three IMPS a week — I do. We, 
with others, like them immensely, and 
appreciate "The Implet," which ar- 
rives more regularly than the films. 
We hear the manufacturer abused for 
not making more and better films, and 
the exchange for not buying and send- 
ing each house just what he wants. 
But, Mr. Editor, what do you know 
about the fellow who hires a film 
butcher to run a sausage grinder in a 
sardine can and after a thorough mu- 
tilation holds up that new Imp a cou- 
ple of days and sends it in to his 
exchange a junk reel? He is in evi- 
dence in this part of the world, and 
the exchanges seem to be helpless 
against it. Don't you think if the ex- 
changes would put a first-class man 
on the road, as an inspector of the dif- 
ferent houses, to see that their goods 
are properly handled and shipped, 
that the poor devil who works hard 
over conditions and for perfection, 
would get a better run for his money 
and his Imp, Thanhouser, Rex and 
Eclair in better shape. Hoping this 
lands, we are 

Very truly yours, 

PICTO THEATRE. 

Selma, Ala. 

[We think the Sales Company 
should take up the matter. — Editor, 
"The Implet."] 



LICENSED RELEASE DAYS. 

Monday — Biograph, Kalem, Lubin, 
Pathe, Selig, Vitagraph. 

Tuesday — Edison, Essanay, C. G. P. 
C, Cines, Selig, Vitagraph. 

Wednesday — Edison, Eclipse, Ka- 
lem, Lubin, Pathe, Vitagraph. 

Thursday — Biograph, Essanay, Lu- 
bin, Melies, Pathe, Selig. 

Friday — Edison, Essanay, Kalem, 
Selig, C. G. P. C., Vitagraph. 

Saturday- — Edison, Essanay, Cines, 
Lubin, Pathe, Vitagraph. 



DECEIVED BY THE EYE. 

Dr. Ponzo, an Italian psychologist, 
writes in a scientific review published 
in Turin that in watching a film rep- 
resenting a religious ceremony in 
Burma he distinctly heard the sound 
of the bells. When the illusion passed 
off he noticed that there were nothing 
but stringed instruments in the or- 
chestra, and it was evident that he 
had been the victim of auto-sugges- 
tion. 

On another occasion M. Ponzo was 
looking at a photograph of a cascade, 
and thought he heard the roar and 
the wash of it, but subsequently per- 
ceived that the sound came from the 
ventilator. Presented with a picture 
of the sea, he has felt a sensation of 
the dampness and the freshness of 
the water, and of the soughing of the 
breeze; perhaps it was again the ven- 
tilator that caused the delusion. 

A yet stranger instance of auto-sug- 
gestion followed. On the film was 
shown a farm yard, with men unload- 
ing a hay cart. M. Ponzo asserts that 
he smelt fresh hay, and his assistant 
sitting by his side had the same sen- 
sation. As they looked about for an 
explanation, they noticed that one of 
their neighbors had scented himself 
with some strong perfume. They had 
not noticed it before, and now that it 
greeted their senses they both re- 
marked that it bore no relation what- 
ever to the scent of new-mown hay. 
Their neighbor had indirectly pro- 
duced the illusion in their minds by 
stimulating, so to speak, the imagina- 
tion of their sense of smell. 

Fmm these experiences M. Ponzo 
concludes that cinematography acts 
on all the senses. By some mysteri- 
ous association, it can delude the 
warders of the brain. While the eye 
seems to see things actually moving, 
the ear hears the noise made by them, 
the nostrils catch up their smell, the 
skin itself feels hot or cold. The 
sense of taste alone remains unaf- 
fected. 



Real Photographs 

OF 

Imp Favorites 

We have for disposal a few 
real photographs (that is beau- 
tiful surface prints) of some of 
our Imp players. There is King 
Baggot, whose picture is 1 1 j 
*9}4; there is W. R. Daly rep- 
resented on a 9 x 7 picture, and 
H. S. Mack also a 9 x 7. The 
number of these photographs 
is limited. They are as good as 
the celebrated theatrical photog- 
rapher, White, of Broadway, 
can make them. We are selling 
them at 15 cents each. Send 
your orders, and the money to 
cover cost, to the Imp Films Co., 
102 West 101st Street, New 
York City. 



THE PERIL." 



Great Imp Military Picture for Deco- 
ration Day. 

The Imp Films Company will release on 
Decoration Day a fine military drama, en- 
titled "The Peril." The plot of this story 
is intensely strong, and it centers around the 
attempt of a foreign spy to secure papers 
relative to the disposition of the guns in a 
fort which is of great strategic value. The 
military and fort scenes in this picture are 
wonderfully realistic. 

King Baggot is seen in the character of a 
captain, who meets with many surprising 
adventures in the execution of his duties, and 
in his courting of a pretty girl whose father 
is commandant of the fort. 



Brickbats and Bouquets 

This is the title of a book which 
we are mailing free to any one 
who will take the trouble to 
write for it to The Imp Films 
Company, No. 102 West 101st 
Street, New York City. It is a 
book of about 60 Pages, and the 
contributors to it are Independ- 
ent exhibitors all over the 
United States and Canada. This 
is how we made the book: We 
sent out a circular to exhibitors, 
asking them if they were, or 
were not, in favor of Three 
Imps a Week. We also asked 
them to state their reasons one 
way or another. 

The replies came in by the 
hundred. There is an over- 
whelming desire for Three Imps 
a Week; and the reasons why 
are given. The majority want 
comedy; some want industrials, 
some want dramas, and others 
want educational. But ALL — or 
NEARLY ALL want Three-a- 
Week. And since December 
they have had them. But the 
book is of general, as well as of 
particular value. We have 
printed the "Brickbats" as well 
as the "Bouquets." We have 
been fair in the interests of The 
Imp Company; we are fair in 
the interests of the general film 
business. Mr. Exhibitor and Mr. 
Exchange Man, let us send you 
a copy of "Brickbats and 
Bouquets." 



1^ 





THE STAFF OF AGE 



Copyright 1912 by Imp Film* Company 



A. 












An aged cripple is succored, when in trouble, by his bright, good-hearted 

grandson, who succeeds in helping the old man who finds himself in 

danger of imprisonment. A touching story of suffering and 

self sacrifice amongst the poor. 



On the same reel LET WILLIE DO IT An Amusing Comedy 

IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



5-11-12 



IMPS 

WERY WEE1C 



"THE IMPLET" 




66 



Three For Three 



99 



(By Carl Laemmle) 

The Imp could produce three pictures a week 

with only two stock companies and two stage directors. 

Two companies and two directors are ordinarily supposed to produce three complete 

pictures a week. But, rather than take chances by squeezing too much work out 

of high-strung, temperamental people, the Imp goes to the heavy extra expense of keeping 
three companies and three director^ on the job all the time\ 

One of these companies is in California. 

Another is doing studio work in New York nearly all the 

time. The third alternates between studio and outdoor work in and around 
New York. In addition, we have experts traveling all the time, picking up big 
special subjects in all parts of the country — like the "Keokuk Dam", for example, 
or the "Pushmobile Race in Savannah," or the 4,, Tea Industry Near Charleston, 

S. C," or "The Cotton Industry," or the famous Russian Countess de Swirsky in her wonderful 
dances. This is why the Imp variety is so good, why we are always in better position than others to 
furnish novelties and unusual attractions. 

If any one of our three Imps a week suffered 

from lack of attention and care, there might be some 

reason why many exchanges should buy only one or two. But, inasmuch as each 
Imp is a perfect product, standing on its own bottom, produced by a special 
corps of high -salaried professionals (specialists in their respective lines), every 
exchange should buy all three Imps a week. If your exchange is not giving you 
three Imps a ^eek, the thing for you to do is to keep demanding them until 

you get them. Either get them by paying more for your service or by convincing your exchange 
that you are entitled to them. But get them. Don't leave it to others. Do your own demanding, 
not once or twice, but co?tstantly until you win out. 



Next Installment : 



1 1 



For Sale" 




"The Play's The Thing" 







This is probably the most quoted remark 
with reference to the stage, talking and silent, 
of any of the trite remarks of which the stage 
(and we use the term "stage" in its generic 
sense) is the object 

"The Play's the Thing." 

The original line occurs in Shakespeare. 
Hamlet is addressing the players, who are to 
give a play in which the character of his uncle, 
the usurping King of Denmark, is portrayed. 
Hamlet tells the players a whole lot about their 
business, says, in effect, that after ail the play 
is the thing. He meant the acting; the action. 

From the modern viewpoint what Hamlet 
implied was this: Never mind accidentals such 
as time, place, scenery, but see that you act 
your parts well and thoroughly, for it is your 
acting that will chiefly make the play. 

This is true. Of all plays to-day it is the 
quality of the acting chiefly that makes suc- 
cess. Scenery, costumes, music, story, all this 
may be of the best obtainable, but if the play 
is not well acted, failure in a greater or less 
degree is certain. 

What applies to talking plays applies to 
motion picture plays. 

Recently the editor of "The Implet" has 
spent a great amount of time analysing moving 
picture plays, especially with a view of arriv- 
ing at the reason why so many of these pro- 
ductions fail to "get over." 



It is simply because they are not well acted. 
They are either under-acted — that is, not acted 
at all, or over-acted — that is, acted too much. 
So the stories fail. 

In many cases that we have in mind the 
photography of the pictures has been well 
nigh perfect, the settings beautiful in the ex- 
treme; costumes admirable, actors and act- 
resses handsome and distinguished. 



Yet these pictures fail: they fail to sell, or 
if they reach the moving picture theatres, 
people do not care for them. 

It is because the acting has been at fault. 
The actors and actresses have not let them- 
selves go. They have not acted; maybe have 
been improperly directed. Anyway, whatever 
the cause there is the effect. 

Why are Imp pictures so generally popular? 

Why have hundreds of exhibitors all over 
the country testified in "Brickbats and Bou- 
quets" to the popularity of Imp films? 

Why, since we started "The Implet," have 
we received hundreds and hundreds of com- 
munications testifying to the general public's 
liking for Imp films? 

Because Imp pictures are invariably well 
acted. 

It would be ridiculous for us to claim that 
each Imp picture is a masterpiece. It is not. 

But what we do claim, and justly claim, is 
that the Imp average of excellence in films is 
as high as, if not higher than, anybody else's 
average. 

The Imp photography. Imp acting, Imp 
stories, Imp directing, has the highest average 
of excellence of any pictures made. 

In this article we especially address our- 
selves to the acting quality of the Imp pic- 
tures. 

This is always conscientiously good, thor- 
oughly good. The Imp Films Company wont 
tolerate any but good actors and actresses, 
men and women who know their business. 

Mr. Exhibitor, you can always safely com- 
mend Imp pictures to your patrons upon the 
score of the fine acting in them. 

"The Play's the Thing," and Imp plays are 
plays that are played well. 






T'. 1 



mm 

§/.'.• .awl 



ttf 








THE "IMPLET" 



«B&t "Jmplet" 

The Moving Picture Newspaper 
Edited by THOMAS BEDDING 

COPHIGHT 1912 BY IMP FILMS CO. 



Published at 102 W. 101st St., New York 

SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY. 5 CENTS 



"LADY AUDLEY'S SECRET." 

Release of May 16, 1912. 2000 feet. 

"LADY AUDLEY'S SECRET" 
tells the story of a woman, who hav- 
ing an insatiable desire for social 
position, allows nothing whatsoever 
to impede her in order that she might 
attain her ends. 

Sir Robert Audley, while a good and 
honorable man, has no social ambi- 
tions, and after a time Lady Audley's 
life becomes monotonous, so she de- 
vises a scheme which she believes will 
be of advantage to her. While her 
husband is away from home on a long 
trip, she plans to become suddenly 
ill and diej this is successful and en- 
ables her to appear under an assumed 
name. She next ensnares a wealthy 
nobleman, Sir Michael, and at last 
sees her dream about to be realized. 

When Sir Robert returns he pene- 
trates her disguise and threatens to 
expose the ruse. She, failing to per- 
suade him to keep silent, determines 
to put him out of the way forever. 
For this purpose an old well in the 
Abbey Court grounds is used; there 
Sir Robert is supposed to have fallen 
to his death. 

Her secret, however, is whispered 
about, as a villager has seen the act 
committed. Sir Michael's son de- 
nounces her, but his father is com- 
pletely infatuated, and, therefore gives 
no credence to the rumor, and orders 
his son from his home. 

Through a chain of circumstances 
Lady Audley succeeds in getting her 
enemies under one roof — a quaint old 
English inn. Here the desperate crea- 
ture plans to destroy them all. The 
dread cry of fire rings out on the still 
village air — and heroic rescues alone 
save her victims from a horrible 
death. 

Confronted by them on the thres- 
hold of the castle, just as she fancied 
all evidence against her had been con- 
signed to the flames, Lady Audley 
collapses, and insanity mercifully 
closes the portals of her distorted 
mind. Thus dramatically ends this 
thrilling picture. 




(.(. 



King Baggot in "Lady Audley's 
Secret." 

CASTS OF THE IMP PLAYS. 

"Jim's Atonement." 

(Imp Drama. Release, Monday, May 

13, 1912.) 

Written by Lillian Winbigler. 

Produced by E. J. Le Saint. 

Jim Harry Pollard 

Frank Ed. Lyons 

Mollie Margarita Fischer 

"Lady Audley's Secret." 

(Tmp Drama. Release, Thursday, May 

16, 1912.) 

i 'i i 'In' ed by Otis Turner. 

George Talboys King Baggot 

rl Audley Wm. E. Shay 



A CAVE MAN WOOING" 



Two scenes from the intensely humorous comedy, "A CAVE MAN 
WOOING. ' ' (Release of May 20th. ) 

Showing King Baggot in the leading role. 




BINDING CASES FOR "THE IMP- 
LET." 

In response to numerous requests we 
are prepared to supply 

Binding Cases for "The Implet." 
By prepaid mail, $1.00 each. 
Looks like a book. 

You can put in and take out single 
copies. 

Handy for keeping your "Implets." 
Send address and $1 bill to 

THE IMPLET, 
102 W. 101st St., 
New York City. 



COULDN'T WAIT FOR "THE IMPLET." 
Telegraphed for It. 

"The Implet" recently received the following telegram from an im- 
patient reader. 

Can you beat it? 

THE WESTERN UNION TELEGRAPH COMPANY 

April IT, 1912. 
Wilkesbarre, April 17th. 
Imp Films Company, 
102 West 101st St., 

New York City. 
HAVE NOT RECEIVED MY LATEST "IMPLET" YET. LOOK IT 
UP. .-\NSWER. 

WILLIAM BOHN, MANAGER. 

STAR THEATRE. 



INDEPENDENT RELEASE 
DATES. 

Sunday — Eclair, Gaumont, Rex. 

Monday — American, Champion, Imp, 
Nestor. 

Tuesday — Eclair, Powers, Republic, 
Thanhouser. 

Wednesday — Ambrosia, Champion, 

Nestor, Reliance, Solax, Animated 
Weekly. 

Thursday — American, Eclair, Gau- 
mont, Imp, Rex. 

Friday — Bison 2-Reel Subjects, Lux. 
Solax, Thanhouser. 

Saturday — Great Northern, Imp. 
Powers, Nestor, Republic, Reliance. 



LICENSED RELEASE DAYS. 

Monday — Biograph, Kalem, Lubin, 
Pathe, Selig, Vitagraph. 

Tuesday — Edison, Essanay, C. G. P. 
C, Cines, Selig, Vitagraph. 

Wednesday — Edison, Eclipse, Kalem, 
Lubin, Pathe, Vitagraph. 

Thursday — Biograph, Essanay, Lubin, 
Melies, Pathe, Selig. 

Fridav — Edison, Essanay, Kalem, Se- 
lig, C. G. P. C, Vitagraph. 

Saturday — Edison, Essanay, Cines, 
Lubin, Pathe, Vitagraph. 



Luke Marks W. R. Daly- 
Lady Audley Jane Fernley 

Alicia Violet Horner 

Sir Michael Audley Wm. Welsh 



"Henpecked Ike." 

(Imp Comedy. Release, Saturday, 

May 18, 1912.) 

Written by Harry Pollard. 

Produced by E. J. Le Saint. 

Ike Slocum Edward Lyons 

Mrs. Slocum Louise Crolius 

Dolly "The Burro" 



INFLUENCE OF MOTION PIC- 
TURES ON CHILDREN. 

It is a significant fact that the public- 
attitude, through enlightenment and 
through acquaintance with the motion 
picture as it really is, has almost totally 
reversed itself during the past few 
years. Churches and societies which 
protested most vehemently against mov- 
ing pictures as an instrument of vice- 
are now utilizing them, in their own 
church parlors, as a means for enter- 
tainment and for profit. Educators are 
now coming to recognize that the very 
fascination which holds the child can be 
taken out of the hand of the showman 
and utilized to vitalize studies and 
methods which offer the greatest resis- 
tance to the youthful mind. The first 
education of the child is through sight. 
His love for pictures is ever present. 
Is there anything unnatural in this ar- 
dor for pictures which are animated? 

It can be said to the credit of mov- 
ing pictures that they are more strictly 
censored than any other instrument for 
the enlightenment of the people. A 
board of censors passes on nearly every 
film produced in this country, and the 
standard is high. The censors admit 
that the element of crime cannot be 
taken out and the result be a drama, 
for motion pictures are silent drama, 
conceived and presented in a fashion 
not unlike audible dramatic produc- 
ts ms. The same censorship is not ex- 
ercised over plays, and as a result many 
theatrical productions are a disgrace to 
the authors and the producers. And 



more people witness motion pictures in 
one night than attend regular theatrical 
performances during a whole week. 

These evils and dangers to children 
come not in the pictures, but in the 
places in which such pictures are exhib- 
ited. But there is where the police and 
city authorities hold sway, and they can 
eliminate the objectionable places. Per- 
mit larger attendance so that the ex- 
hibitor can make a living profit and 
some of the objections will disappear. 
Enforce the law regarding the admis- 
sion of minors, the guarantee of fire 
protection and, as important as any, 
assuring proper ventilation, instead of 
deodorization. Give the censors more 
power and let all work for the uplift 
and not the injury or abolishment of 
the picture show, the only place for a 
workingman of limited means, during 
his leisure hours of the evening! 

The benefit of the motion picture is 
not for the "picture man." It is for the 
educator, the lecturer and the teacher. 
It is becoming a news gatherer and a 
historical record. These are roles that 
are helpful and which should be en- 
couraged in every way possible and not 
hampered by the frequent misstatement 
that "moving pictures are a menace." 
Tiie motion picture is the greatest pos- 
sible boon to children, if it is utilized in 
its most beneficial way. 



WE ALSO DOUBT. 

What is wanted in the cinematograph, 
writes the New York Tribune, as well 
as in the ordinary photograph, is a 
method of recording the precise tints 
of nature directly upon the original 
negative and of transferring them 
thence to the positive print, whether 
upon paper or film. Then the finished 
picture will be an exact replica of the 
exquiste projection which is seen upon 
the focusing screen of the camera. 
There are those who doubt the intrinsic 
possibility of such an achievement; but 
there are also many who hold that it 
would be relatively no more remark- 
able than the original invention of pho- 
tography and that it is no more to be 
regarded as impossible than thai sin mid 
have been before the days of Nfiepce 
and Daguerre. 



MOVING PICTURES AND THE 
STUDY OF INDIGESTION. 



Regular moving pictures of the stom- 
ach of human beings and animals, in 
the process of digestion, have recently 
been exhibited in Germany and it is be- 
lieved that it will not be very long be- 
fore such pictures will be exhibited to 
all medical students as a part of their 
course of training. 

Experiments were made first on cats, 
according to the Philadelphia Press. By 
adding a little subnitrate of bismuth, a 
harmless powder, to the food of the fe- 
lines, the contents of the stomach be- 
came visible to the X-ray apparatus. By 
taking X-ray photographs in rapid suc- 
cession, it became possible to secure a 
moving picture showing the exact mo- 
tions the stomach goes through when 
digesting a meal. 

The old idea that the stomach is di- 
vided practically into two parts, one be- 
ing used as a sort of reservoir and the 
other doing the digestion, is fully dis- 
proved by the pictures. The whole 
stomach works. 

Soon after the food enters, the stom- 
ach begins to churn and knead back and 
forth. This churning movement takes 
the form of regular waves, which suc- 
ceed one another at intervals of twenty 
seconds. As the food becomes thor- 
oughly digested it advances to the "py- 
lorus," or "gatekeeper," which allows it 
to pass on. So long as there are un- 
digested masses in the stomach the 
kneading action continues and the py- 
lores remains obdurate. 

It is plainly shown by the moving pic- 
tures that worry, anger or other ex- 
citement causes the digestive action to 
stop. Observations on cats and other 
animals prove that when they are 
teased, or even when they have been 
asleep, and have had bad dreams, there 
is a cessation of the stomach move- 
ments. 

It is believed that a careful study of 
this subject will throw much new light 
on the digestive processes and aid in 
the treatment of disease. 



JIM'S ATONEMENT 



Copyright 1912 by Imp Film* Company 






\\. 






-- r 



A 






L 



Jealousy over a photograph creates a temporary misunderstanding be- 
tween a young couple. The husband unreasonably suspects a friend 
of treachery, but is undeceived; rescues the man from a peril- 
ous position, and the two become fast friends. 



5-13-12 



IMP FILMS COMPANY 



>f HREB IMPS 

^gwt WEEK, 



102 West 101st Street, New York 



Carl Laemmle, Pree. 



4 



THE "IMPLET" 



THE RAINEY PICTURES 

Wild Nature in Africa on the Moving Picture Screen. Masterpieces of 

Moving Picture Photography. 



Very few of the newspaper writers, 
who have commented upon the "Rainey 
Pictures," that are now entrancing New 
York, at the Lyceum Theatre, Forty- 
fifth street and Broadway, have done 
them justice. There have been other 
African hunting pictures, faked and 
real, that have been publicly shown, 
which only created a mild and transi- 
tory sensation, simply because they 
were either obviously faked or were 
generally poor. This impression still 
remains, and so the Rainey pictures 
have perhaps been prejudiced. But 
they will come into their own. 

For anybody to properly write 
about the "Rainey Pictures"— I say 
properly write about them — he should 
know a whole lot. He should have fol- 
lowed the progress of the moving pic- 
ture, as I have done for the last six- 
teen years, to be able to adequately ap- 
preciate them. 

The Boston Post of April 21st con- 
tained one of the best appreciations of 
these pictures that I have read; the 
New York Times did them justice; so 
did The Herald. Other papers have 
attempted to do so, but the majority of 
the papers have failed to give an ade- 
quate idea of the beauty and value of 
the pictures. 

I do not hesitate to say that these 
"Rainey Pictures," so-called, are the 
finest studies of wild nature on the 
screen that I have seen in the course of 
my sixteen years of studying moving 
pictures. Excuse me insisting upon the 
sixteen years. It was in January, 1896, 
that I first took up the study of moving 
pictures in consequence of the wonder- 
ful work of the Lumieres in Paris and 
London, and I have followed it ever 
since. 

And it is by the light of that expe- 
rience that I think these "Rainey Pic- 
tures" of such extraordinarily outstand- 
ing merit. 

In the first place they are naturalistic. 

What do I mean by naturalistic? Sim- 
ply that the photographer, Mr. Hem- 
ment, has not only gone to nature for 
his studies, but has interpreted those 
studies in a perfectly natural manner. 
There is no faking, there is no posing ; 
nature both animate and inanimate is 
represented in these pictures just as she 
is. 

The groupings are natural ; the views 
are artistically chosen and well com- 
posed ; the films well exposed and well 
illuminated. You have clouds in your 
pictures ; there is an absence of the ar- 
tificial ; in fact, the whole series is flaw- 
less, from the point of view of the nat- 
uralist and the photographer. 

Two paramount circumstances con- 
spired to produce these splendid results. 
Paul Rainey is a thorough naturalist 
and a thorough sportsman ; J. C. Hem- 
ment, who took the photographs, is one 
of the most successful photographers in 
the world. The expedition was effi- 
ciently equipped for its purely sporting 
program and the very best photographic 
material was obtained for recording the 
incidents of the Rainey hunt. It is well 
here to give a brief description of the 
series. 



The pictures as finally obtained show 
elephants, rhinoceri, giraffes, deer, ze- 
bra, monkeys, etc., quenching their thirst 
or laving their bodies in the shade of 
the trees. Apparently a truce exists 
among the denizens of the jungle when 
at the drinking pool, and those that are 
natural enemies anywhere else literally 
"live and let live" when visiting the 
pool. The importance of the condition 
depicted in this single film may be un- 
derstood when it is known that Profes- 
sor Osborn, president of the American 
Museum of Natural History and dean 
of the faculty of pure science at Colum- 
bia University, has pronounced it the 
greatest contribution to pure science of 
the last decade. 

Mr. Rainev's own description of the 
hunt is as follows : 

"My dogs were picked with care, and 
while the main pack consisted of bear- 
hounds, I had others that were mon- 
grels, but scrappers of the most vicious 
sort. The latter, forming my auxiliary 
pack, bore the brunt of the battles with 
the lions and did the actual tackling, 
the others confining their work to pick- 
ing up the trail and running the beasts 
to cover. These we would call off when 
we got the lion in close quarters and 
then unleash the mongrels, that would 
plunge into the fray and tackle the king 
of beasts with the ferocity of bulldogs. 
One or two of them were killed, but the 
main pack of bear-hounds escaped un- 
injured. When the psychological mo- 
ment arrived one of the party would de- 
spatch the lion with a bullet. 

"Of all the experiences we had that 
with a lioness was the most ticklish. 
Our dogs picked up the scent and in 
full cry set off, our party following as 
fast as we could. When we heard the 
hounds baying we knew that close work 
was at hand, so we made all haste to 
come up with the pack. We found a 
magnificent lioness at bay giving battle 
as best she could, with 20 dogs snap- 
ping at her haunches and nipping her 
wherever they could get a hold. 

"J. C. Hemment, who operated the 
moving picture machine for our expedi- 
tion, got his camera to work and was 
grinding out the films when the lioness 
bowled several of the dogs and made 
straight for us. We were caught com- 
pletely unawares and when I tell you 
that the bullet I sent crashing through 
her lungs dropped her within six feet 
of the camera I am not exaggerating 
in the least. 

"Never in my life had I seen any 
beast cover the distance intervening be- 
tween the pack and our camera in the 
few leaps taken by that lioness. She 
was upon us almost before we noticed 
that she had escaped the pack, and for- 
tunately for all of us I was standing at 
Hemment's side with a rifle in my hand. 
Had I been compelled to pick up my 
gun preparatory to receiving the charge 
it would have been all off with us. 
That's a fair sample of what it means 
to be unprepared while hunting in the 
jungle, and it was a lesson we never 
forgot." 

"You can usually tell what a lion is 
going to do, but not what a wild buf- 
falo will do. Sometimes he will charge 



you at express speed. At other times a 
well directed shot in the shoulder will 
send him scampering off in the opposite 
direction. If he charges you, you have to 
lay him low with one shot. Otherwise 
you will be trampled to death. I saw 
one hunter who had been trampled to 
death by a wild buffalo, and it was one 
of the most terrible sights I ever wit- 
nessed." 

Mr. Rainev's scheme, as will be per- 
ceived, therefore, was that of a hunting- 
trip undertaken for sporting and scien- 
tific purposes. Some of his captured 
animals are now in the Bronx Zoolog- 
ical Park. He made many shooting rec- 
ords," such as killing nine lions in thir- 
ty-five minutes and a total of seventy- 
four in the six month's expedition. 

The expedition was numerously peo- 
pled by African natives, and we are 
taken through a whole series of pictur- 
esque incidents leading up to the actual 
hunt. The trapping of jackalls; the 
treeing of cheetahs ; the shooting of 
other animals ; all this is wonderfully 
well shown in the films. The most 
delightful and entertaining part of the 
series of pictures show the now cele- 
brated water-hole. To this water-hole, 
at times, all the denizens of the African 
jungle go to drink. You get the im- 
pression that some great Zoological 
Park or Noah's Ark has emptied itself 
at this drinking place. 

Probably for the first time since pho- 
tography was invented, you have an 
opportunity of studying on the screen 
the manners and habits of this extra- 
ordinary collection of animals amidst 
their natural surroundings. Hemment 
had to get this marvelous picture by 
living in a tree for two or three days. 
Of course, he was nearly killed by a 
lion and underwent other dangerous 
adventures, but he worked hard, stuck 
to his guns, chose pictures well, put a 
whole wealth of wonderfully good ma- 
aterial in them and unquestionably has 
achieved one of the greatest triumphs 
ever yet placed to the credit of the 
moving picture camera. 

The lion hunt is the fascinating part 
of these pictures. The natives report 
lions in the vicinity ; the camp breaks 
up ; the dogs get on the scent, and at 
last, after a long chase, the lion is run 
to earth in the bushes. Surrounded by 
the dogs, the great animal finally suc- 
cumbs, being helped out of existence 
by a shot from Mr. Rainey's gun. This 
is a wonderful picture. Wonderfully 
realistic, wonderfully complete and at 
the same time wonderfully pathetic. 

It is, I suppose, new to most of us 
that dogs can be trained to hunt lions ; 
the fact is extremely interesting. There 
is no doubt that Mr. Rainey, outside of 
his sporting pleasures, has made some 
valuable contributions to Natural His- 
tory. 

I have no hestitation in pronouncing 
these moving pictures the most interest- 
ing and the most fascinating ever pro- 
duced. I have seen most of the great 
moving pictures so far made ; trick pic- 
tures; classical stories; dramas; scen- 
ics ; North Pole pictures ; South Pole 
pictures. None of them appeal to me 
so strongly as do these pictures made 
by Hemment. 



For the reasons above given. That 
they are naturalistic, i.e., accurate rec- 
ords of natural facts ; not faked, un- 
forced ; unartificial, if I may use the 
phrase. They are natural and truth- 
ful, and being so are good. 

Then as they are the only ones of 
their kind, they are unique. 

From the point of view of dollars 
and cents, there is, in my opinion, a 
fortune in these pictures. To duplicate 
them you need another Rainey and an- 
other Hemment, and believe me, Rain- 
eys and Hemments do not grow on 
trees. 

The Rainey pictures can be exploited 
throughout the world for years to come 
and there will be a whole lot of money 
in them. 

Aside from this matter, intrinsic in- 
terest in them can never die out, be- 
cause they are the first of their kind; 
the only ones of their kind, and there- 
fore the best of their kind. 

The "Rainey Pictures" are uniquely 
splendid. 



THE RAINEY PICTURES. 

What the "New York Times" Thinks 
of Them. 

Pictures of Paul J. Rainey's African 
hunt were shown at the Lyceum Thea- 
tre recently. The audience found them 
not only unusually interesting pictori- 
ally, but full of thrilling scenes and un- 
expected humor. 

The hunt was the outcome of Mr. 
Rainey's idea that American trained 
dogs could be used in trailing and cap- 
turing big game in Africa, and the pho- 
tographic record proved his contention. 

The first of the series of pictures 
showed the party setting out on the 
"safari" into the interior of British East 
Africa. The difficulties of passage 
through the jungle and the desert, the 
different means of transportation used, 
and some of the incidents of travel 
were exhibited. Then followed a film 
snowing the trapping of a hyena ; the 
setting of the trap, the capture of the 
animal and his attempts to escape, and 
his final caging. This particular hy- 
ena, it was explained, is now in the 
Bronx Zoological Park. A few scenes 
on Mr. Tarlton's animal farm came 
next, and then some views of ostriches 
at various ages. The first pictures of 
the dogs in action were taken of a 
cheetah hunt, during which the dogs 
trailed and treed several of the animals. 

Probably the most interesting of the 
films was that of a water hole in the 
desert. The lecturer explained the care 
taken to get these pictures of animals 
in the wild. All sorts of beasts came to 
the water hole to drink; rhinoseri, gi- 
raffes, gazelles, elephants, zebra and 
other kinds, all apparently at peace with 
each other, but with an order of social 
precedence that was carefully kept. 

Motion pictures of herds of zebra and 
gazelles, views of an exciting rhino 
hunt, pictures of monkeys at play, and a 
final reel showing the hunting of lions 
with dogs, that gave a remarkably clear 
view of the lion at bay in a thicket and 
worried to death by the dogs, concluded 
the entertainment. Mr. Hemment's lec- 
ture was full of humorous anecdotes 
connected with the expedition, and was 
not wanting in thrills when he de- 
scribed some of the close calls of the 
hunters. 



LADY AUDLEY'S SECRET 



Copyright 1912 by Imp Films Company 



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The story of an ambitious English society woman who stops at no exped- 
ient to insure her selfish ends. Her terrible end should serve 
as a warning for depraved "society" people. 



5-16-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



THE "IMPLET" 



THE D EATH SHIP 

or, THE WRECK OF THE AURORA 



[Feature film controlled by the World's Best Film Co.] 



This film has been brought before 
exhibitors at a time when the respon- 
sibilities of ship owners have occu- 
pied the minds of people all over the 
world through the loss of the Brit- 
ish White Star mammoth, the "Ti- 
tanic." 

The sailor man from time immemo- 
rial has been the sport of his fellow 
men. The profession of the mercan- 
tile marine, or of the navy, has been 
and is even now, largely recognized 
as one which is the resort of the 
careless, irresponsible, unsophisticated 
section of mankind. The unmanage- 
able boy sent to sea, the seaman of 
mature years, is a jolly kind of fellow, 
with a sweetheart in every port; the 
old salt is a garrulous and picturesque 
longshoreman. This point of view of 
men towards those who go down to 
the sea in ships has been held from 
time immemorial. So that as the 
years advance the ship owner, the 
steamship company director, the navy 
departments of the world have treated 
Jack afloat as an almost negligible 
human quality. They have done, and 
they are doing this moment, just as 
they like with the free handed, good- 
hearted sailor man. Any ocean trav- 
eler will tell you that even to-day the 
lot of the seamen and firemen on 
ocean tramps and liners is a very ugly 
one. 

"The Death Ship," besides telling a 
magnificent story by the aid of mag- 
nificent acting and fine photography, 
illustrates this point, viz.: that of the 
indifference which the average ship- 
owner frequently feels for the safety 
of those who sail the ships. 

In the story we have a wealthy man 
who deliberately bribes the depraved 
captain of his ship to scuttle her: or 
run her aground, or lose her so that 
the ship owner, an unconvicted forger, 
may get the insurance money on the 
ship and thus cover up his delinquen- 
cies and save himself from ruin. 

This is not the whole extent of his 
perfidy; he goes so far as to bribe 
another villian to blow up a light- 



house so that the ship which was un- 
expectedly nearing her home port 
should be misdirected on the shoals 
and be wrecked. 

So she was. 

But retribution overtook the ship 
owner. His own son happened to be 
on the derelict ship and he was res- 
cued just in time to greet a dead par- 
ent, for the shipowner, in remorse, 
had committed suicide. 

The story of the film is as follows: 

When a business man is confronted 
by financial ruin his first impulse is to 
seek the readiest means of extricating 
himself from his dilemma. In the 
case of the supposedly wealthy ship- 
owner, his son's marriage with a rich 
widow was the nearest path to the 
retrieval of his fortune. But the son 
had other ideas. 

He was in love with a girl, who was 
none other than the daughter of the 
captarn of his father's ship, the Aurora. 
That avenue of escape beir-g dosed, the 
ship owner resorted to forgery, relying 
upon the bankers to make him an ad- 
vance so that he might cover his delin- 
quency. But the bank refused further 
advances. So the ship owner was con- 
fronted with the evidence of his own 
forgeries. 

In this crisis the son steps in to save 
his father's name and his mother from 
misery. He took upon himself the bur- 
den of his father's crime. 

He was arrested, and by the law of 
his country received a conditional par- 
don — that is to say, he was sent out of 
the country for two years. 

Further misfortune befell the ship 
owner. The captain reported that the 
Aurora was not seaworthy and sug- 
gested the expenditure of a large sum 
of money in order that the vessel might 
he put into shape. 

But the ship owner had not the money. 
Nevertheless, a plan occurred to him 
whereby, he thought, the old hulk might 
be the means of saving his fortune. He 
engaged a shady mariner to take her to 
Barcelona and sink her, agreeing to pay 



the new captain a percentage of the in- 
surance money. 

The ship made the outward voyage. 

The period of the son's transporta- 
tion having expired, he shipped on the 
Aurora for his return voyage to his 
native land. The captain, meanwhile, 
was killed, the result of an accident 
caused by drinking, and the ship own- 
er's son assumed command of the Au- 
rora. 

He soon discovered, amongst the dead 
man's papers, a letter from his own 
father, agreeing to the payment of a 
percentage of the insurance money to 
the captain, if the latter would wreck 
the ship. 

In due course the ship owner received 
news that the ship was on her way 
home. 

This would defeat his plans ! 

So he bribed a couple of men to blow 
up the lighthouse, which guided vessels 
into the harbor. By this means he cal- 
culated that the ship would be lost and 
that he would receive the insurance 
money. 

Meanwhile, the mother learns that her 
son is on the incoming Aurora. She 
conceals the news from her husband. 

The terrible plot proceeds. 

The lighthouse disappears in an awful 
explosion. The ship is stranded. The 
storm breaks over it. 

News came to the ship owner of the 
destruction of the lighthouse and the 
loss of the ship. Learning that his own 
sen was on the doomed vessel and over- 
whelmed by consciousness of his terrible 
guilt, the ship owner goes insane and 
dies by his own hand. 

But the valor of the local life boats- 
men had succeeded in rescuing the crew. 
The ship owner's son was the last to be 
taken off the doomed ship ; he arrived 
home shortly after his father's death 
with the girl of his choice, who had 
been waiting for him to return, and his 
name was cleared of the forgery that he 
had assumed. 

The earlier scenes of the play are 
placed in the merchant's offices and in 



the reception rooms of his magnificent 
home ; the latter are especially remark- 
able for richness of decoration and re- 
finement of effect. The merchant is 
impersonated by an actor who seems to 
realize to the utmost possible extent the 
dilemma of the rich man reduced to 
forgery and other crimes in order to 
save himself. The characters of the 
captain of the ship, the ship owner's 
son and his fiancee are boldly and clear- 
ly drawn. 

When the son is sent out of the coun- 
try, opportunity is given for showing 
some very interesting and diverting 
views of life on board a sailing ship. 

We see the crew at their work and at 
play. There is a death aboard ; that of 
the wicked captain; and one of the most 
impressive scenes is that of a funeral at 
sea. 

When the ship starts on her home- 
ward voyage, we enter the realistic part 
of the story; the blowing up of the 
lighthouse is a finely managed piece of 
actual destructive work. 

And as the ship rides into the storm, 
we get some marvelous photography of 
the ravages of the tempest on her. She 
is dismantled ; waterlogged ; stranded in 
the terrible gale, whilst the angry sea 
sweeps around her and the figure of the 
ship_ owner's son is seen in the rigging 
waving a signal of distress. 

The putting off of the lifeboat; the 
scenes on the shore amongst the dis- 
tracted village folk; the rescues by the 
life line; the escorting of the rescued 
son up to the home of his parents ; all 
this is shown in a series of wonderfully 
vivid views on a stormy coast where the 
ship Aurora goes to her destruction. 

This_ picture is one that will be of 
perennial interest because of the unique 
nature of the sea life portrayed. The 
line acting of the large cast adds to the 
interest of probably the finest drama of 
the sea released in recent years. The 
heralds, the posters, the wide publicity 
given to the picture, should help exhib- 
itors to reap a large harvest from this 
fascinating drama. 



CALENDAR OF IMP RELEASE DATES. 



BRADHURST 



Monday, April 8— THE SECTION FOREMAN. Drama. 

FIELD CLUB FOUR-MILE RUN. Sporting. 

Thursday, April 11— FALSE TO BOTH. Drama. 

Saturday, April 13— MR. SMITH, BARBER. Comedy. A LEAP FOR 
LOVE. Drama. 

Monday, April 15— RESCUED BY WIRELESS. Drama. 

Thursday, April 18— WOMAN ALWAYS PAYS. Drama. 

Saturday, April 20— LONESOME MISS WIGGS. Comedy. SCENIC 
WONDERS OF' YELLOWSTONE PARK. Scenic. 

Monday, April 22— A MILLIONAIRE FOR A DAY. Comedy. 

Thursday, April 25— THE LOAN SHARK. Drama. 

Saturday, April 27— A PIECE OF AMBERGRIS. Comedy. U. S. ARTIL- 
LERY MANOEUVRES. Educational. 

Monday, April 29— THE LURE OF THE PICTURE. Drama- 
Thursday, May 2.— ALL FOR HER. Drama . 

Saturday, May 4— MELODRAMA OF YESTERDAY. Comedy. BREACH 
OF PROMISE. Comedy. 

Monday, May 6— ON THE SHORE. Drama. 

Thursday, May 9— THE LAND OF PROMISE. Drama. 

Saturday, May 11- 
IT. Comedy. 

Monday, May 13— JIM'S ATONEMENT. Drama. 

Thursday, May 16— LADY AUDLEY'S SECRET. Drama. 



-THE STAFF OF AGE. Comedy. LET WILLIE DO 



Saturday, May 18— HENPECKED IKE. 
HUNTING SCENES. Scenic. 



Comedy. ENGLISH STAG 



Monday, May 20— A CAVE MAN WOOING. Comedy. 



Thursday, May 23— THE CLOWN'S TRIUMPH. Drama. 



Saturday, May 25 — The Maid's Stratagem. 
ANGELES. Scenic. 



Comedy. VIEWS OF LOS 



TALKING FOR MOTION PIC- 
TURES. 

"The expounder of moving pictures 
lias come to be a most lucrative pro- 
fession in recent years, and bids fair 
to be more and more so as the popu- 
larity of the amusement continues to 
increase," says the "Far East," pub- 
lished in Tokio. "But to be a success 
it is necessary to speak not in many 
tongues, but in many voices. Men 
qualified to do this seem few and .far 
between, and it is only the genius in 
this line who can command a big sal- 
ary. At Asakusa there is a famous ex- 
plainer who can talk in 20 voices. Flis 
head is bald and in appearance he can- 
not be said to be handsome, yet he 
receives a salary that a high govern- 
ment official or university professor 
might envy. 

"He has a soft voice for a young 
girl, a shrill one for a child; he can 
imitate the tones of an old man, of 
a villian, a man of low class or of high 
degree. His voice also runs the gamut 
of the emotions, and the audience 
weeps copiously when he makes the 
heroine tell some harrowing tale, or 
has it in roars of laughter over the 
antics of the funny man. 

"But the reason why this particular 
explainer is such an adept is that in 
his younger days he was a teacher of 
singing. Later on he became an actor, 
but his fortunes had been on the ebb 
for some time until he took up the 
remunerative business in the moving 
picture theatres." 



PLEASE OBLIGE THE IMP 
WITH THE FOLLOWING 
INFORMATION 
We want each reader of The 
Implet to tell us the names of the 
Independent Theatres in his city 
which exhibit first run, second 
run and third run Imps. 
Send us this information as quick- 
ly as possible. 

A postal will do with the names 
and addresses of the theatres. 
Just address The Imp Films Com- 
pany, 102 West 101st St., New 
York City, and write on the back 
of the card the name and ad- 
dress of the theatre, and say, as 
the case may be, 
First Run, 
Second Run or 
Third Run 

Tell us, in short where, when, 
and how Imp Pictures are shown. 
Mr. Exhibitor, please oblige the 
Imp in this matter so that the 
Imp may, in turn, help you. 

BRITISH MOVING PICTURE 
THEATERS. 

There are now over 4,000 moving 
picture theatres in Great Britain and 
Ireland. Fully $5,000,000 is said to be 
invested in the provision and working 
of halls alone, and over 32,000 people 
are employed, 




HENPECKED IKE 



Copyright 1912 by Imp Films Company 




Henpecked Ike quits home not liking domestic work. His misadventures 
decide him to return to his wife, who, repenting of her domi- 
neering ways, welcomes him home. 



5-18-12 



On the same reel ENGLISH STAG HUNTING SCENES 

IMP FILMS COMPANY 



102 West 101»t Street, New York 



Carl Laemmle, Pres. 



, ff HREE IMPS 
^ftT WEEJC 



CtBBEg imps 
'EVERY WEEIT. 



HI 



THE "IMPLET" 






LIKE THE IMPLET AND THE IMPS 



To the Editor. 

Sir: We have an Imp Day every 
Monday, and play to capacity. We 
get Monday's and Thursday's Imps 
and, occasionally, a Saturday Imp. 
Would run three Imps every week if 
I could get them. Take service from 
the Empire Film Company. 
Yours truly, 
W. B. FULMER MAYER, 

Arcade Theatre, 
Brooklyn, N. Y. 



To the Editor. 

Sir: I use Independent films; more 
Imps than anything else. They al- 
ways please. 

Yours, 

J. W. KERR. 



To the Editor. 

Sir: We have a Sunday closing 
law here, and am sure we could open 
up on that day if the proper dope 
were brought to bear. Can you sug- 
gest a method of going about it? 
Your Imps are the best ever; keep up 
the good work! 

Truly, 

E. F. KNAAK. 



To the Editor. 

Sir: We get all the Imps every 
week. They are popular here. 
Yours, 
FAMILY THEATRE, 
Davenport, la. 



To the Editor. 

Sir: I am receiving "The Implet" 
and say that it certainly is a fine 
paper. Thanks for sending it. 
Yours truly, 
J. W. HEATHERINGTON, 

Lifo Rama, 
Bellaire, Ohio. 



To the Editor. 

Sir: The only trouble I have with 
my exchange is that I can only get 
two Imps a week. We could show 
Imps every day as my patrons are 
crazy over them. 

Yours truly, 

P. F. PETTEE, 
Star Theatre. 



To the Editor. 

Sir: I get the Imp Films regularly 
and am glad to say they are good 
boosters for my house. I had "SHA- 
MUS O'BRIEN" and it was so well 
received that I have to repeat it. 

Wishing you success on future pro- 
ductions, 

GEO. KERESTES, 

Lyric Theatre, 
Turtle Creek, Pa. 



To the Editor. 

Sir: I show Imp Flms and you 
certainly have the goods in them; 
they are house-packers. 
Truly yours, 
J. W. HEATHERINGTON, 

Liforama, 
Bellaire, .Ohio. 



To the Editor. 

Sir: Could I get any advertising 
matter for "FROM THE BOTTOM 
OF THE SEA," which I am going to 
run on Thursday evening, April 11th. 
The Imp Films have the people en- 
thusiastic; crowded houses every 
evening, we use three a week. 
Yours truly, 

H. S. JENNINGS, 
Philadelphia, Pa. 



To the Editor. 

Sir: "The Implet" is great, so are 
Imp Films. Enclosed find 50 cents 
for photos. 

Best wishes, 
GALLAGHER BROS., 

Litchfield, 111. 



To the Editor. 

Sir: "The Implet" is O. K. 
Truly yours, 
BROOKER & SON, 

Murray, Ohio. 



To the Editor. 

Sir: Your "Implet" is great. I 
have cut out the pictures and placed 
them in my lobby under glass cover, 
which attract patrons and interest the 
public. 

Yours, 
BIGGER & BIGGER, 

Cincinnati, Ohio. 



To the Editor. 

Sir: I like "The Implet" and read 
every word in it every week, and then 
keep it on file. 

Truly, 
J. P. BERGER, 
Majestic Palace, 
Philadelphia, Pa. 



To the Editor. 

Sir: I am receiving "The Implet" 
each week. It's a dandy little paper. 
Keep the good work up. 
Yours truly, 

L. A. ELDRED, 
Corunna, Mich. 



To the Editor. 

Sir: Hard to get Imps here. Don't 
fail to send "The Implet"; they miss 
me often. 

Truly yours, 

ED. JACKSON, 
Wolcott, Ind. 



May 9, 1912. 
To the Editor. 

Sir: I am writing this letter to ask 
a great favor of you and to tell you 
that I think "The Implet" is the swel- 
lest little Motion Picture Paper that 
I have had the pleasure of receiving 
and reading. You certainly are a 
booster, but then you are putting out 
a grade of photo plays that are far 
above the standard and can't be 
boosted enough, so keep the good 
work up. 

Very truly yours, 

L. A. ELDRED,, 
Carunna, Mich. 



March 31, 1912. 
To the Editor, 

Sir: I am sending photograph to 
show you how we feature a "worthy" 
picture. "From the Bottom of the 
Sea" cannot be too strongly featured; 
it's a great picture. 

Yours very truly, 

J. M. LEWIS. 
Princess Theatre, 
El Paso, Texas. 



April 2, 1912. 
To the Editor, 

Sir: Thanks for "The Implet" and 
the sight of your facade with all the 
New York improvements. The "Imp- 
let" is interesting reading and I am 
glad to see you in so congenial a 
field. 

Yours faithfully, 
J. A. TENNANT, 
New York City. 



tt 



THE IMPLET" TRADE DIRECTORY 



Following is a first list of advertisers from whom readers of "The Implet" ma}' order motion picture theatre supplies: 



ARCHITECTS 

Decorators' Supply Co 2549 Ascher Ave., Chicago, 111. 

CARBONS 

L. E. Frorup 432 Greenwich St., New York City 

Chas. L. Kiewert 165 Greenwich St., New York City 

Hugo Reisinger 11 Broadway, New York City 

CHEMICALS FOR DEVELOPMENT 

Berlin Aniline Co Water Street, New York City 

ELECTRICAL SUPPLIES 

Fort Wayne Electrical Co 1402 Broadwey, New York City 

J. H. Halberg 30 East 23rd St., New York City 

H. A. Mackie 851 Broadway, New York City 

Moore Hubble Co 34 N. Franklin St., Chicago. 111. 

E. Schneider 219 Second Ave., New York City 

LENSES 

Bausch & Lomb Optical Co Rochester, N. Y. 

Gundlach-Manhattan Optical Co. Rochester, N. Y. 

MISCELLANEOUS 

A. B. C. Co. (Posters) Cleveland, O 

Amusement Supply Co 107 N. Dearborn St., Chicago 

American Slide & Poster Co 538 First Nat. Bank Bldg., Chicago 

Chicago Projection Co 219 N. Dearborn St., Chicago 

A. J. Corcoran (Developing Tanks) 11 John St., New York City 

Exhibitors' Adv. & Specialty Co 105 East 14th St., New York City 

Geo. Hoke 176 N. State St., Chicago 

Lavezzi Co 2940 Herndon St., Chicago 

Harback Co 809 Filbert St., Philadelphia 

McKenna Bros Pittsburg, Pa. 

Mortimer Film Cleaner Co 703 Fidelity Bldg., Portand, Me. 

National Ticket Co Sliamokin, Pa. 

National X-Ray Reflector Co 235 Jackson Blvd., Chicago 

Newman Electrical Lamp Co 3346 Banaparte Ave., Cincinnati. 

Theatre Film & Supply Co 64 East 14th St., New York City 

Tilley Bros Austin, Texas 

United Roofing & Mfg. Co Philadelphia, Chicago, Kansas 

City, San Francisco 

U. S. Factories Co 423 Dickey Bldg., Chicago 

Zenith Mfg. Co Box 252, Cincinnati, O. 



MUSICAL INSTRUMENTS 

J. C. Deagan 3800 N. Clark St., Chicago 

Rudolph Wurlitzer 25 West 32nd St., New York City 

OPERA CHAIRS 

American Seating Co 15 E. 32d St., New York City 

A. H. Andrews 115 So. Wabash Ave., Chicago 

Geo. W. Bennett 744 West 5th St., Chicago 

Hardesty Chair Co Canal Dover, O. 

E. H. Stafford Chicago, 111. 

Steel Furniture Co * Grand Rapids, Mich. 

Wisconsin Lumber Co New London, Wis. 

PROJECTORS 

American Moving Picture Mach. Co 102 Beekman St., New York City 

Edison Moving Picture Mach. Co Orange, N. J. 

Enterprise Optical Co 564 W. Randolph St., Chicago 

Nicholas Power 115 Nassau St., New York City 

Simplex Co East 14th St., New York City 

PROJECTION SCREENS 

American Theatre Curtain Co Main & Chestnut Sts., St. Louis 

Coyle Curtain Co Canton, O. 

Inventor's Specialty Co 401 Ashland Block, Chicago 

Mirroroid Co., J. H. Genter Co New York City 

RAW FILM 

J. I-:. Brulatour Easl 27th St.. New York City 

Eastman Kodak Co Rochester, N. Y. 

Cine Film Co 145 W. 45th St., New York City 

SLIDE MANUFACTURERS 

American Motion Slide Co 611 First Nat. Bank Bldg., Chicago 

Excelsior Slide Co 61 West 14th St., New York City 

Kansas City Slide Co 1332 Grand Ave., Kansas City, Mo. 

Hunter-Fell-Elliott Co 1326 Broadway, New York City 

Levi Co 1560 Broadway, New York City 

North American Slide Co 23 North 9th St., Philadelphia 

Scott & Van Altena Co 59 Pearl St., New York City 

A. L. Simpson 113 West 133d St., New York City 

Utility Transparency Co 1733 West 9th St., Brooklyn 



"THE IMPLET" 



THE PERIL 

The Great Imp Military Picture for Decoration Day 

Ifl The Imp Films Company will release on Decoration Day a fine 
military drama, entitled "The Peril." The plot of this story is intensely 
strong, and it centers around the attempt of a foreign spy to secure 
papers relative to the disposition of the guns in a fort which is of great 
strategic value. The military and fort scenes in this picture are won- 
derfully realistic. 

tj King Baggot is seen in the character of a captain, who meets with 
many surprising adventures in the execution of his duties, and in his 
courting of a pretty girl whose father is commandant of the fort. 



Imp Pays and 
Imp Progresses 

IT WAS THE IMP 

which paid a stiff price to 
the Russian Countess de 
Swirsky to get 500 feet of 
her marvelous Russian 
dances — something totally 
new for moving pictures. 
See that you get this film. 

IT WAS THE IMP 

which paid a stiff price to 
produce "Shamus O'Brien" 
in order that this Irish classic 
could be shown in Indepen- 
dent moving pictures. 

IT IS THE IMP 

which helps the great cru- 
sade against "loan sharks" 
by producing "The Loan 
Shark . ' ' Every theatre show- 
ing this film will win the 
public favor. Will you get 
this film or an excuse? 

IT IS THE IMP 

which produces "A Million- 
aire for a Day," that corking 
good comedy which shows 
the people "how it feels to 
be rich for a day." Will you 
get this film 
instead? 



or an excuse 



IT'S ALWAYS THE IMP 

which does the big things in 
a big way; and the timely 
things at the right time. It's 
always the Imp that keeps 
your programs alive and 
spends money lavishly to 
make you proud you're 
Independent. 



WHERE IMP FILMS ARE SHOWN 

Princess Theatre, El Paso, Texas. 




THE RAINEY AFRICAN JUNGLE 
PICTURES. 

(Cholly Knickerbocker in N. Y. 
American.) 

You should see the moving-picture 
show that Paul J. Rainey has brought 
back from Africa. It beats all the zoos 
hollow. Rainey vows that hunting with 
a cinematograph is as good sport, at 
least, as hunting with a rifle. All un- 
consciously, the beasts of the German 
East African jungle posed for the pic- 
ture machine, which was hidden in a 
"blind" near a pool to which they came 
to drink. Elephants with their young, 
baboons by the hundred, spindle-legged 
giraffes, fierce rhinos, shrinking deer, 
zebras — innumerable beasts are pic- 
tured, "disporting themselves, each ac- 
cording to its nature." 

It's likely that the pictures will be 
shown in the drawing rooms here, and 
mighty instructive they are ; you could 
go to a dozen menageries or read a 
hundred tiresome natural histories and 
not learn a quarter as much as from 
them. Men tell me that Rainey's expedi- 
tion cost him $200,000 at least, and that 
he says he never spent money to more 
enjoyment and profit. 



"AN ELEGANT SOUVENIR." 

We compliment Mr. Fichtenberg, "of 
the Fichtenberg Enterprises, owning 
and operating a string of M. P. The- 
atres in New Orleans, Vicksburg, 
Miss., and Houston, Texas, on an ex- 
tremely refined souvenir of the open- 
ing of his "Isis Theatre," at Hous- 
ton, Texas, on April 18th. 

Evidently a scholar was at work in 
the compilation, as the reader is first 
of all told all about the mythological 
goddess from which the new theatre 
derives its name, and then we have 
an excellent description of the house; 
some details of the great pipe organ, 
which has been installed therein; por- 
traits of the principal members of the 
staff and then particulars of the daily 
performances. 

We are pleased to see that music is 
featured in this beautiful theatre, 
which, according to the illustration, 
certainly deserves its title of "The 
Theatre Beautiful." 



PICTURES IN PLANT AND 
FLOWER STUDY. 

Superintendents of schools through- 
out the United States will be asked to 
include moving picture lectures showing 
the growth and care of plants and flow- 
ers in the regular school course in the 
near future. The request will come 
from the National Plant, Flower and 
Fruit Guild, which held its annual meet- 
ing recently at the residence of Miss 
Leary, No. 1032 Fifth Avenue, New 
York, and decided to urge the adoption 
of practical floral culture in all public 
schools. 



THE "SPEEDER" LIST 

IS FOR 

IMPLET READERS 

Are you using it ? 



F R E E service F R E E 

We have decided to install a 
separate department for looking 
after the wants of our readers, 
free. We can now assure 
prompt attention to inquiries — 
speedier than any other publi- 
cation in the country. 

We've got a "Speeder" list. 
This is made up of dealers in 
theatre supplies who assure rapid 
fire attention to inquiries. All 
an exhibitor need do is write the 
"Speeder Dep't." of the Implet 
what he needs, and he will, in a 
jiffy, receive the best prices in 
the market. 

This is a free service to ex- 
hibitors, made necessary by the 
dozens of requests for inform- 
ation that come in every week. 

The Implet is tickled to do it 
for you. 



THE ADVENTURES Of MR. AffittSt BUTT 

Copyright 1912 Car] Laemmle * 

He ALMOST Gets a Great Moving Picture This Time, BUT— 



i want you to ACT t+aE 
PAfcT Of A COMIC TRAMP 
WHO STEALS A. Pl£ BY 
WALK/UG THE CLOTHSLINC 
6Y SO DO IN fa H£ ESCAPES//^ 
A aAVA&E DO& J I V ' 




"THE CRUSADERS" or "JERUSALEM DELIVERED" 

A Three-Reel Feature of Tremendous Interest--A Great Historical Subject. 

Marvelously staged and enacted by the World's Best Actors. 

The story of the Holy War waged in Palestine between 

the Christians and the Saracens. 

EightSheet, JUST A FEW DESIRABLE STATES OPEN Exclusive Rights 

Three Sheet and to 

One Sheet Posters and Heralds. Wire, Phone or Write Today Live State -Right Buyers. 



COLONIAL BUILDING 

PHONE RIVERSIDE 4914 




Columbus Avenue and 101st Street 
NfEW YORK CITY 



"Fea.tt*re Films £r Nothing Else" 



THE DEATH SHIP 



OF THE AURORA" 

STATE-RIGHTS, 15c. a Foot 
NO EXTRA CHARGES 



or, "THE WRECK 

THE FILM OFATHOUSAND THRILLS! 

Secure valuable, exclusive State-rights before it is too late. Wire, phone or 
write today sure. Three-sheet and two different one-sheet posters, beautiful 
heralds and still photos. *Z. We hold certificates of registration of our copyright of 
this film, dated Februaryl28, WffiJJftJl^j!^ Ffl?(3fip 1912, Class J, No. 166,714 



and will prosecute all infring 
extent of the law. 

COLONIAL? BUILDING 

Phone Riverside 4914 -f^f 



IJWSD 



m 



t»ra Film. 6 Nothing CLae* 



ers or dupers to the fullest 



Columbus Ave. & lOlst St. 
NEW YORK CITY 



Real Photographs 

of 

Imp Players 

We have for disposal a few real photo- 
graphs (that is beautiful surface prints) 
of some of our Imp players. There is 
King Baggot, whose picture is ll : *,x9\.; 
there is W. R. Daly represented on a 
9x7 picture, and H. S. Mack also a 9x7. 
The number of these photographs is 
limited. They are as good as the cele- 
brated theatrical photographer, White, 
of Broadway, can make them. We are 
selling them at 15 cents each. Send 
your orders, and the money to cover 
cost, to the Imp Films Co., 102 West 
101st Street, New York City. 



THE "IMPLET" 



11 





Trapping, shooting, fighting for 
life with enraged wild animals at 
bay— 5000 feet of the most marvel- 
ous views ever taken with a moving 
picture camera are shown in 

Paul J. Rainey's 

AFRICAN HUNT 

(.Copyright 1912) 

State rights won 't last long. Wire 
at once, making offer for your state, 
to 

THE JUNGLE FILM CO. 
100 West 101st Street, New York 



' .> ' "j,";."U T. ,.. 



POPULAR 
PICTURES 




OF IMP 
STARS 



The 

Snap 

of the Year! 



Only 

50c. 

per SET 



THINK OF IT! 





THIS complete set of PROCESS PEBBLED PRINTS 
of Imp stars for the insignificant sum of 50c. It's the biggest 
bargain and the softest snap ever offered you. Buy one 
set for yourself and you'll quickly see how easy it will be 
to sell other sets to your patrons who are enthusiastic ^^ 

over Imp actors and actresses. Tear off coupon, fill ^^ r\ 

in the blanks, enclose with the proper sum of 
money to cover as many sets as you want 
at 50c. per set, write your name and 
address plainly and— -mail at 
once to the 

IMP FILMS CO. 

102 W. 101st ST. 

NEW YORK ^ JSJ 



ame 



Add: 



ress.. 




Actual Size of Each Photo 
5^X 8^ in. 

Imp Films 
Go. 

102 W. 101st ST., IEWYORK,N.Y. 

Gentlemen : 

nclosed find $ for 

which please send sets of 

photos of Imp stars as described in the 
advertisement from which I cut this coupon. 
Yours truly, 



BRICKBATS 
and BOUQUETS 



This is the title of a book which 
we are mailing free to any one 
who will take the trouble to 
write for it to The Imp Films 
Company, No. 102 West 101»t 
Street, New York City. It is a 
book of about 60 Pages, and the 
contributors to it are Independ- 
ent exhibitors all over the 
United States and Canada. This 
is how we made the book: We 
sent out a circular to exhibitors, 
asking them if they were, or 
were not, in favor of Three 
Imps a Week. We also asked 
them to state their reasons one 
way or another. 

The book is of general, as well as 
of particular value. We have 
printed the "Brickbats" as well 
as the " Bouquets." We have 
been fair in the interests of The 
Imp Company; we are fair in 
the interests of the general film 
business. Mr. Exhibitor and Mr. 
Exchange Man, let us send you 
a copy of "Brickbats and 
Bouquets." 



12 "THE IMPLET" 



FOR SALE! 

The Laemmle Film Service 



(By Carl Laemmle) 

In order to devote my entire time and thought 

to the Imp, I herewith offer for immediate sale all 

Laemmle Film Service offices, stock, equipment and good-will to the highest 
bidders. I will sell the different branches separately or in a lump. The offices 
are Chicago, Minneapolis, Omaha and Des Moines. Each is prosperous. Each 

has a regular franchise from the Sales Co. Each is managed successfully by the men now in charge — 
the Laemmle organization which represents years of picking and choosing. The new owners of my 
exchanges could do no better than continue these men in office, provided the men in question are willing. 

It has taken me eighteen months to make up 

my mind to sell my exchanges. It means a wrenching of 

heart-strings. It means giving up the business on which I founded my success. 
I won^t sacrifice it. I want a respectable price for it, but a price which will permit 

the purchasers to make a handsome interest on their investment. If you are not fixed to take advan- 
tage of this opportunity yourself, pass the word along to any moneyed friends of yours who seek to 
enter the moving picture field on the ground floor. 

I have lived ten years in the past five, trying 

to give attention to the Imp and to my exchanges, until 

the Imp has grown to such world-wide importance that it is a tremendous prob- 
lem in it vlf — a vast business with endless ramifications. The Amp spends eight 
to twelve thousand dollars per week in America alone. I can't spend that money 

to best advantage if my time is divided between the Imp and my exchanges. 
Whoever buys the Laemmle Film Service exchanges will have exactly the same opportunities to make 
money that I have had. The Imp has ?iever favored the Laemmle exchanges and never will, no 
matter who owns them. I have jealously kept my promise, made when I organized the Imp company, 
that the Imp would be managed without fear or favor. I have kept the two concerns divorced abso- 
lutely, though I've given part of my time to each. If you buy the Laemmle exchanges you buy a solid, 
substantial, profitable business— nothing intangible, nothing unsafe or uncertain. First come, first served 







[-'7 '•-£ 



^ 



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A 1 



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The principal aim and object of "The Implet" is 
to help the exhibitor. That stands to reason. We 
want to help him to make as much money as pos- 
sible out of showing Imp films. That also stands 
to reason. Our business in life is to chiefly sell Imp 
films, and the more we can persuade the exhibitor 
to demand Imp films the more Imp films we shall 
sell. 

We are in the business for what there is in it, 
as well as for the love of it. 

And so are you, Mr. Exhibitor. 

We pass a great deal of our time in studying the 
hosts of letters which reach us from exhibitors, in- 
dicating what they desire in the way of quality of 
picture, literature, and other aids to business. 

Recently, by means of "The Implet" and by the 
matter that is reproduced from its pages, we have 
come forcibly to the conclusion that what the exhibi- 
tor likes and needs is given him at their best in 
this number of "The Implet." 

In the first place, we have a lobby display for each 
release. 

This he can cut out of "The Implet" and hang up 
in his lobby. It gives a splendid reproduction of 
the still picture of a vital part of the film ; under- 
neath it is a brief story, telling the public what 
the film is all about. 

These lobby displays appeal directly to the pub- 
lic, who pass your theatre, Mr. Exhibitor, or who 
come into the theatre; the lobby display is for^the 
man who runs and reads. 

Now, there is the newspaper reading notice in 
this number, besides the lobby display, so that you 
have a cast of characters in each play; you have 
a scholarly write-up of each play ; you have mat- 
ter for an advertisement of each play. 



What is the object of all this matter? 

The write-ups and the casts of characters are for 
you, Mr. Exhibitor, to hand to your local paper. Be 
sure the paper will print it, because it does not over- 
advertise Imp pictures ; it deals with them in a digni- 
fied, readable, intelligent fashion. 

Then there is the advertisement. This advertise- 
ment crystallizes the main feature of each film. If 
you cut it out, print it in your local paper with 
the name and address of your theatre regularly it 
will regularly draw patrons to your theatre. 

Now what the Imp wants you to do is : 

(1) Systematically exhibit the Imp lobby display. 

(2) Systematically send the write-up of each 
Imp picture to your local paper. 

(3) Systematically advertise Imp films as we sug- 
gest you should advertise them. 

If you will do all this week in and week out you 
will largely augment the attendance at your the- 
atre. 

At present the great public visits moving picture 
theatres of its own volition ; the exhibitor does little 
or nothing outside his theatre to attract the public, 
but if he will use the columns of the newspapers 
in the way that we suggest he will be surprised 
at the enormous number of new patrons who will 
come to his theatre. 

There are other ways in which each number of 
"The Implet" is being made useful to the exhibitor. 
Advance particulars of forthcoming Imp releases are 
given; there are also the releases of other Inde- 
pendent manufacturers. 

If there is any other respect in which the reader 
thinks that "The Implet" can be made to serve him, 
and he will let us know, we will endeavor to meet 
his wishes. 












'& 



THE "IMPLET" 



Cfte "implet" 

The Moving Picture Newspaper 

Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 

Published at 102 W. 101st St., New York 

SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY, 5 CENTS 

THE LESSON OF THE TITANIC. 

The fact that many cities in the 
United States have barred the exhibition 
of real and fake pictures of the "Ti- 
tanic" carries its own lesson. It is this, 
that the public will not any longer stand 
for the gruesome, sensational and the 
morbid in the moving picture. 

The loss of the "Titanic" was a calam- 
ity which struck into thousands of 
homes. It created world-wide sorrow, 
as much sorrow as a great battle or 
some other catastrophe might have done. 

And, consequently, the general feeling 
being one of sorrow, it was, to say the 
least of it, in bad taste for many men 
in the picture business to make capital 
out of that feeling. 

There may be some excuse or expla- 
nation for the exhibition of pictures of 
purely local disasters. Take the case of 
the Messina earthquake. The camera 
men were busy whilst the buildings were 
falling. 

The pictures excited great interest 
and sympathy in this country, but not 
anything like the degree of sorrow that 
the "Titanic" disaster did, because the 
Messina earthquake was purely local 
and national, whilst the "Titanic" dis- 
aster, as we have pointed out, was~of 
general interest and created universal 
sorrow. It is a matter of degree. We 
are all human and can contemplate with 
the minimum of emotion the happenings, 
joyful and sorrowful, a long way off. 
But when those happenings are nearer to 
us and touch each and every one of 
us, as the "Titanic" disaster did, the 
less we are reminded of them the bet- 
ter for our peace of mind. 

When the "Carpathia" steamed away 
after her mission of mercy the subject 
of the "Titanic" was tabooed amongst 
her passengers. 

We think that there should be a cen- 
sorship of subjects of topical interest 
for the moving picture screen. 

It was suggested that the Imp Films 
Company make a "Titanic" picture, but 
we declined on the ground above stated. 

We think it would have been prudent 
if other manufacturers, large or small, 
had also declined. 

The moving-picture theatre does not 
exist for making money out of the grue- 
some and the morbid, but rather for the 
purpose of giving the public something 
elevating, humorous, entertaining and 
moral ; something that will uplift and 
not depress. That is why we object to 
these "Titanic" pictures, faked and 
otherwise, and why "The Implet" de- 
sires to go on record as endorsing the 
action of the various city authorities 
throughout the country in barring pic- 
tures of the disaster. 

CASTS OF THE IMP PLAYS. 

"A Cave Man Wooing." 

(Imp Comedy. Release, Monday, May 

20, 1912.) 

Written by B. M. Conners. 

Produced by Otis Turner. 

George King Baggot 

Sam William Shay 

Prof. S. Trong W. R. Daly 

Clarice Violet Horner 

"The Clown's Triumph." 

(Imp Drama. Release, Thursday, May 

23, 1912.) 

Written and Produced by Herbert 

Brenon. 

Mimi Vivian Prescott 

Ravelle Herbert Brenon 

Hon. Richard Newton Frank Crane 

Madam Rabinier. .Rolinda Bainbridge 

Dr. Bryne H. S. Mack 

The Market Woman, 

Florence Ashbrooke 

"The Maid's Stratagem." 

(Imp Comedy. Release, Saturday, May 

25, 1912.) 

Written by M. Hope. 

Produced by F. A. Thomson. 

Bridget Kelley Vivian Prescott 

Mrs. Warner Rolinda Bainbridge 

Stuart Mason H. S. Mack 

The Butler J. R. Cumpson 



THE IMPLET MAIL BOX 



Projection Lens. — J. Doyle, Allen- 
town, Pa., writes: "Where can I buy 
lenses for projectors? I recently 
bought an old Pathe machine, but it 
has not got a lens on it." In reply: 
From the Bausch & Lomb Optical 
Company, Rochester, N. Y., or Gund- 
lach-Manhattan Company, Rochester, 
N. Y. 

The Rainey Pictures. — Subscriber 
asks: "Who is this J. C. Hemment 
that is referred to in connection with 
the Rainey pictures? Is he a moving 
picture man?" In reply: Mr. Hem- 
ment is a photographer of many 
years' standing, who turned his atten- 
tion to moving picture work a few 
years ago with eminent success. 

Independent Theatres in New 
York City. — W. C. asks: "Where can 
I see your Imp pictures somewhere 
near the centre of things in New 
York City? Most of the houses seem 
to run licensed pictures." In reply: 
Webers' Theatre, Broadway, is now 
independent. You can see Imp pic- 
tures there. If you do not see them, 
ask for them. 

The late W. H. Harbeck.— W. H. J. 
writes: "I hear that the late Mr. 
Harbeck left a great many very fine 
moving picture negatives of Canada. 
Can I get access to them?" In re- 
ply: Mr. Harbeck's address was Seat- 
tle, Wash. A letter addressed there 
will probably find his legal represen- 
tatives. 

Substitutes for Celluloid. — Pyro 
writes: "As you keep posted on 
moving pictures progress, would like 
to learn if there are substances like 



celluloid which could be used for 
moving picture purposes which are 
not inflammable. In other words, 
something which has all the good 
properties of celluloid without any of 
its drawbacks." In reply: We are 
aware of some such substance; it 
looks like celluloid, differs chemically 
from it, is not inflammable and is 
flexible. This may be made commer- 
cially soon and placed on the market. 
On the other hand it is improbable. 
The Eastman Kodak Company, of 
Rochester, are supplying the world's 
market with something like five hun- 
dred million feet of celluloid a year. 
So that there would be some competi- 
tion to face. 

The Ansco Company. — L. C. Q. 
writes: "Is it true that the Ansco 
Company is about to put raw stock on 
the market?" In reply: We have 
heard so; recently there was a contra- 
diction. They are said to be entering 
the business of moving picture mak- 
ing. 

The Scarlett Company. — W. B. R. 
writes: "I see there is a Scarlett Pic- 
ture Company, of Philadelphia, adver- 
tising for scenarios. Do you know 
anything of them?" In reply: No: 
perhaps some reader may supply the 
desired information. 

Moving Pictures in the Home. — J. 
Quill writes: "Is it possible to get 
a motion picture of a wedding cere- 
mony in one's home for preserve- 
ment?" In reply: Perfectly pos- 
sible Any of the manufacturers 
would, no doubt, be glad to quote 
you for the work. 



Tinting. — M. E. Lynn writes: "Some 
pictures that I see are colored in 
parts, blue, golden, green, red. How 
is this done?" In reply: Roughly, by 
immersing the printed positive in a 
solution of an aniline dye of the re- 
quired color. 

Binders for "The Implet." — Mrs. 
X. asks: "Have you a binder for 
"The Implet?" In reply: We adver- 
tise one in this issue. 

Book About the Moving Picture. — 
B. Field writes: "I want a readable 
book about the moving picture, some- 
thing that will tell me how they are 
made, etc. Is there such a book?" 
In reply: Yes; a book by F. A. Tal- 
bot, reviewed in No. 16 of "The Imp- 
let." It can be obtained of J. B. Lip- 
pincott Company, Publishers, Phila- 
delphia. 

Name of Picture. — H. Macpherson 
(Amherst, N. S.), writes: "Some 
two years ago I saw a picture with 
King Baggot in the lead, of which I 
desire to learn the title. It con- 
cerned a young woman who met with 
an accident and the doctors an- 
nounced she would die unless some 
person would give up a certain 
amount of blood in order to restore 
her strength." In reply: The name of 
the story is "TRANSFUSION." 

Simplex Machine. — J. O. B. writes: 
"Who makes this machine?" In re- 
ply: The Precision Machine Com- 
pany, 317 East 34th street, New York 
City. 



"THE IMPLET" CONGRATU- 
LATES PRESIDENT NEFF. 
Mr. M. A. Neff, president of the 
Motion Picture Exhibitors' League of 
America, sends us a quotation from a 
Cincinnati paper, which we print else- 
where, showing how the local exhibitors 
succeeded in averting one or two need- 
less interferences of liberty of action. 
President Neff adds : "You will note 
that the Motion Picture Exhibitors' 
League is alive, and there will be no 
more unjust class legislation enacted 
without protest from the members of 
our League." 

"The Implet" will always be glad to 
hear from presidents of State Associa- 
tions or individual exhibitors, who are 
instrumental in ameliorating the condi- 
tion of exhibitors in local conditions or 
crisis. 



"SHAMUS O'BRIEN" IN EUROPE 

Our two-reel feature picture, "Shamus 
O'Brien," which created such a phe- 
nomenal sensation in the United States, 
is in course of present release in the 
British market. The picture was well 
and favorably reviewed by our English 
contemporary, The Kinematograph 
Weekly, and generally described as an 
Imp masterpiece. 

From all accounts it will be a tre- 
mendous success in the British Isles and 
colonies, where the story of Shamus 
O'Brien is more clearly understood than 
it is in other parts of the world. 

For example, in Continental Europe 
the inner meaning of the story cannot 
possibly be as clear to the people as it 
is to those of British origin. Neverthe- 
less, we anticipate that "Shamus" will 
have a great success in Germany and 
other countries. 

It is worthy of note that at the pres- 
ent time we are constantly receiving 
letters of commendation from exhibitors 
who are delighted with this picture of 
"Shamus O'Brien," who state the pic- 
ture is appreciated by their audiences. 

In like manner we are receiving words 
of praise for one released as far back 
as last October, "From the Bottom of 
the Sea," which is also being exhibited 
in Europe with great success. 

We anticipate a similar, and possibly 
a more favorable, reception for "Lady 
Audley's Secret," which is to be re- 
leased forthwith. 



THE MOTION PICTURE EXHIB- 
ITORS' LEAGUE SCORES A 
VICTORY AT CLEVELAND. 

What is looked upon by Cincinnati 
moving-picture exhibitors as a victory 
over the rulings of Building Commis- 
sioner Rapp was achieved when Council 
Committee on Public Safety adopted a 
motion recommending that existing 
moving picture theatres be granted a re- 
newal of their licenses when they ex- 
pire until a new ordinance regulating 
those places can be agreed on. 

The matter under consideration was 
an ordinance requiring that the vent 
pipe in moving picture booths be en- 
larged from 8 inches to 16 inches, in 
order to permit of the installation of a 
fan to exhaust the bad air from the 
theatre ; and also requiring the use of a 
certain patented magazine in moving pic- 
ture machines, which, it is claimed, 
shuts automatically and prevents fires. 

Building Commissioner Rapp and his 
deputy, Mr. Sturtevant, were present, 
as were also about a hundred moving 
picture exhibitors and operators. A num- 
ber of picture machines were brought 
before the committee to demonstrate 
how they work. 

Arguments against the proposed or- 
dinance were made by M. A. Neff, presi- 
dent of the Motion Picture Exhibitors' 
League of America; Charles T. Beech- 
ing, a theatre owner ; Attorney Haar- 
meyer and others. They declared that 
a fan would create a draftwhich would 
be very dangerous in case of fire, and 
that it would endanger the health of 
the operator by drawing the bad air into 
the booth. 

Mr. Neff declared that an ordinance 
requiring the use of a patented maga- 
zine in the picture machines would be 
unconstitutional. He said Cincinnati 
has more moving picture shows than 
any other city in the country, that the 
rules here are the strictest in America, 
and the license the highest. Moving 



picture shows, he declared, are the great- 
est known factor in education and 
should be encouraged . He complained 
that under every new administration 
the moving picture shows are subjected 
to all kinds of orders to make changes 
and as a result "they don't know where 
they are at." He declared that the 
alleged danger of fires from films has 
been greatly exaggerated, and that there 
have been but few such fires in this 
country. This was denied by Deputy 
Building Commissioner Sturtevant, who 
said he knew from personal experi- 
ence in his present position and from 
his former connection with the Fire 
Prevention Bureau that there have been 
many fires in this city due to moving 
picture films. 

A number of exhibitors complained of 
the present building code and suggested 
that they ought to be modified, and also 
urged that some action be taken to as- 
sure them of the renewal of their li- 
censes on theatres severity of the re- 
quirements under the laws that have 
been in existence for a long time. Mem- 
ber Sawyer, of the committee, sug- 
gested that the exhibitors draw up an 
ordinance embodying their ideas for 
regulating moving picture houses and 
submit it to Building Commissioner 
Rapp for his approval, and when they 
have agreed on an ordinance it can be 
presented to Council for passage. He 
declared that picture show owners have 
property rights which ought to be re- 
spected, and that no ordinance should be 
retroactive — that it should apply only 
to new theatres and not to existing ones. 

A motion was then made that Mr. 
Rapp be requested not to interfere with 
any of the existing picture theatres, or 
refuse to grant renewal of their li- 
censes, pending the passage of a new 
ordinance to regulate them. Chairman 
Deal put this motion, and it was unani- 
mously carried. This pleased the pic- 
ture exhibitors so much that on mo- 
tion of Mr. Neff they at once tendered 
a vote of thanks to the committee. 




A CAVE MAN WOOING 

A sparkling comedy with King Baggot at his best. 




Copyright 1912 by I mo Filmi Comoanr 




A weak and unsuccessful wooer takes lessons in physical culture; be- 
comes strong; defeats his rival and bears off the girl in triumph. 



5-20-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pree. 



4 



THE "IMPLET" 



Criticisms of the Imp Films 

[The Exhibitor is advised to avail himself of these write-ups 
in his newspaper and reading notices.] See Editorial Page One. 



"A CAVE MAN WOOING." 

Imp Comedy Release of May 20, 1912. 
CAST OF CHARACTERS. 

George King Baggott 

Sam William Shay 

Prof. S. Trong W. R. Daly 

Clarice Violet Horner 

This is a comedy in which the four 
principals, King Baggot, W. R. ("Bob") 
Daly, W. E. ("Billy") Shay and Violet 
Horner have parts entirely after their 
own hearts. King Baggot plays the part 
of a "sissy" boy, who is beaten by Mr. 
Shay in the race for Violet Horner's 
heart. Shay is the strong man and 
seems to be winning out in the game 
when Baggot, lured by the advertise- 
ment of Prof. S. Trong (played by Mr. 
Daly), decides to take physical culture 
lessons. 

Here the fun of this comedy starts 
in furiously. Daly is a master of the 
art of boxing ; he floors Baggot in dou- 
ble quick time, but Baggot sticks to his 
work, and in two or three months is so 
proficient at it that he is enabled to floor 
Mr. Daly with some punches that would 
have done credit to J. J. Jeffries at his 
best. 

Acquiring physical and moral courage 
at the school, George (as Mr. Baggot 
is called in the play) proceeds to put it 
into practical use. He has made him- 
self a man, and having a man's determi- 
nation to succeed, he makes small work 
of the opposition and carries off the girl 
upon whom he had set his heart. He 
practically marries her by force, runs 
away with her, and is pursued by the 
parents and the defeated suitor. 

But, of course, it is too late. The girl, 
although married, does not realize what 



she has done, but when she finds the 
tie is irrevocable she yields to circum- 
stances, and the picture ends with the 
probability of love attending the rapidly 
formed union. 

This quaint comedy is played with 
snap and decision by the Imp Company 
and will unquestionably be counted one 
of the funniest plays yet produced. 



"THE CLOWN'S TRIUMPH." 

Imp Drama Release of May 23, 1913. 
CAST OF CHARACTERS. 

Mima Vivian Prescott 

Ravelle Herbert Brenon 

Hon. Richard Newton. .. .Frank Crane 
Madam Rabinier. . . .Rolinda Bainbridge 

Dr. Bryne H. S. Mack 

The Market Woman, 

Florence Ashbrooke 

In "The Clown's Triumph" there is 
told a touching and pathetic story of 
circus life. Ravelle, the clown, befriends 
a young girl, Mima, who, though she 
loves him, is temporarily attracted by a 
comelier rival, and when returning from 
a dinner with him is refused admission 
to the circus wagon by Ravelle. 

The clown in the course of his career, 
is called upon to deputize for a con- 
frere, who has fallen sick. And Ra- 
velle's opportunity brings him to a Com- 
mand Performance at a London theatre, 
where the King of England and the 
French President are present. 

He scores a great triumph in the midst 
of which he receives a little note from 
sick Mima, telling him that her affec- 
tion for him is unaltered. The clown 
rushes off to her home, with some flow- 
ers which she had sent him, to discover 



that she is nearing the supreme crisis 
of her illness. 

She passes over the crisis successfully, 
and on her recovery there is a pre- 
sumption that she will be united to her 
loyal benefactor. 

The simple and heart-interest story 
here detailed is worked out with great 
care and skill by Herbert Brenon of 
the Imp Company. The scenes of circus 
and pantomimic life are wonderfully 
good. You get a representation of the 
old English harlequinade, and in a part 
of the picture there is shown an Eng- 
lish audience applauding Ravelle's per- 
formance. 

Herbert Brenon plays the part of the 
clown, infusing it with real feeling and 
intelligence. Vivian Prescott is Mima, 
and the other roles in the play are 
well sustained. 

Possibly to an American audience the 
harlequinade and other parts of the pic- 
ture might appear strange and novel, 
but they may be accepted as accurate. 

Unquestionably "The Clown's Tri- 
umph" will delight and interest audi- 
ences wherever shown. 



"THE MAID'S STRATAGEM." 

Imp Comedy Release of May 25, 1912. 

CAST OF CHARACTERS. 

Bridget Kelley Vivian Prescott 

Mrs. Warner Rolinda Bainbridge 

Stuart Mason ' H. S. Mack 

The Butler J. R. Cumpson 

The kitchen revolts, Madame, the mis- 
tress of the house, had all the good 
times, and the best of all times of the 
season was at hand. She was invited to 



a function at which His Excellency, the 
Governor and Mrs. Governor, were to be 
present. So it was "some" function. But 
at the last minute she was cheated of. 
her desire to attend by the illness of 
her mother, which called her out of the 
city. 

The kitchen got wind of this occur- 
rence. The kitchen gets wind of every- 
thing that happens, or does not happen, 
upstairs, although "upstairs" is generally, 
or affects to be, oblivious of this fact. 
The pertest of all maids was a deni- 
zen of this particular kitchen. She was 
pretty, refined-, ambitious. And so, bor- 
rowing her mistress' attire she boldly 
impersonated that lady's niece and went 
to the society function, where, being 
bright and well gowned, she made a 
striking social success and won a man's 
heart. 

The clever girl's stratagem had landed 
her in "soft." Of course, she had reck- 
oned without her mistress — every maid 
does, because no maid cares for her 
mistress — and when she got home, full 
of triumph, she met her Waterloo. The 
mistress_ had returned unexpectedly and 
summarily dismissed the girl. 

Was she crestfallen? Never a bit of 
it. She had won a lover, who was man 
enough to stick to her and not throw 
her over because she was only a maid- 
servant. So the comedy ends with gen- 
eral happiness. 

In this bright piece Vivian Prescott 
shows her comedy acting talents to good 
advantage. The play is acted with ani- 
mation and spirit ; the settings are 
pretty, and the offering will undoubt- 
edly be popular. 



THE ART OF SILVER-PLATE 
MAKING. 

The Imp split, release of June 1st, 
includes a short length subject illus- 
trative of the art of silver-plate mak- 
ing. We were granted special facilities 
for the taking of this film, which shows 
an interesting branch of industry in 
actual progress. The various vessels of 
silver used for domestic and decorat- 
ive purposes are fashioned so to speak 
under our eyes. Everybody is interested 
in silver plate, and will be, we are sure, 
glad to see how it is made. 



BUILDING A CHURCH IN ONE 
DAY. 



The Imp Takes a Picture of a Re- 
markable Building Operation. 

Eight hundred persons worshipped 
one night last week in Elbethel Metho- 
dist Church, of Spartansburg, N. C, 
which was completely built in one day. 

The first nail was driven at six o'clock 
in the morning by Mayor Augustus H. 
Kirby, eighty-four years old, who said 
that the edifice was more handsome than 
Spartansburg's First Methodist Church, 
which was dedicated in 1836 and took 
a year to build. 

One hundred and fifty carpenters, 
painters, paperhangers, plumbers, elec- 
trical workers and other artisans, work- 
ing by a carefully arranged system, had 
the structure completed by sunset. 
_ By half-past seven o'clock the mis- 
sion heads were installed, the aisles 
carpeted, the altar was in place and 
decorated with flowers, and a piano was 
in place in the choir loft. 

The mechanics agreed that the work 
was done as substantially as if six 
months had been put in on the contract. 

Eighteen thousand persons watched 
the spectacle, and the Imp Films Com- 
pany's men took thousands of feet of 
moving pictures. 



THE PICTURES ARE GROWING 
BETTER. 

(From the New York Sun.) 

The bad features of the moving 
pictures are numerous. Most of the 
bad features, to be accurate, seem to 
apply only to the bad pictures — not 
to the good ones. The bad pictures 
do, or until recently used to, show 
things improper for children to see; 
violence, villainy, vileness, etc. The 
stage did, too, some times; but children 
seldom went to the theatre alone; 
while the movie show prospered on 
children's pennies. 

Besides, these shows do, or did, 
keep children from their healthy play, 
strained their eyes with the trying 
light and used up attention and inter- 
est that were needed for their lessons. 

But notice that every one of these 
drawbacks can be done away with 
while we keep the moving picture for 
a positive asset in the list of things 
that improve life. If the films are 
made better and the number of indi- 
vidual pictures in a five-minute film, 
for instance, increased, the wobbling 
and dancing of the image can be done 
away with and the undue eye-strain 
prevented. If the right sort of pic- 
tures are shown, the minds of school 
children can be refreshed, not used 
up. The moving picture, in fact, 
promises to become a great help in 
the work of the classroom; many edu- 
cational films are displayed in the 
shows as it is; films that you would 
hardly object to seeing yourself. 

A perfected censorship should keep 
objectionable films off the screens; 
laws and inspection should make the 
moving picture houses sanitary and 
safe. 

As for children over-indulging in 
picture shows, their parents who pro- 
vide the nickels and dimes should cut 
down the supply when the young ones 
go too far. Some children over- 
indulge in candy; it is a similar case, 
a matter for parents to control. 



MAYOR GAYNOR OF NEW 
YORK CITY ENDORSES 
THE MOTION PICTURE 
AS MORAL AND IN- 
STRUCTIVE. 

Mayor Gaynor, of New York City, last 
week demanded of the Board of Alder- 
men prompt and decisive action on the 
motion picture ordinance prepared by 
experts that he appointed. The Tam- 
many Board of Aldermen last year 
failed to act on the ordinance, and the 
present fusion board has not taken any 
steps to enact up-to-date moving pic- 
ture regulations. The Mayor wrote the 
following letter : 

"To the Honorable, the Board of Al- 
dermen : 

_ "Sirs — At my suggestion the commis- 
sioner of accounts made a careful study 
of the conditions of the moving picture 
shows in the city of New York. This 
was brought about by many complaints 
which I had received. He submitted his 
report on March 22, 1911. T appointed 
a committee of citizens to examine care- 
fulh into the whole subject and to re- 
port a proposed ordinance for the gov- 
ernment of these shows. They com- 
pleted their work and reported the or- 
dinance, which was duly submitted to 
.your honorable body. The matter is one 
of such importance that I have thought 
it proper to address to you this special 
communication thereon. It seems to me 
that the ordinance is well thought out 
and should receive favorable considera- 
tion and be passed by you. I do not -un- 
dertake to say that it is perfect. T dare 
si" thai you may find that it needs cer- 
tain changes or amendments. All that T 
wee is that the ordinance be considered 
and pa?sed as it is, or with such wise 
amendments as you think proper. These 
shows are a great solace and the source 
of much entertainment and education to 
the whole community. They are attend- 
ed by all kinds of people, and especially 
by those who cannot afford to attend 
more expensive places of amusement. 



The pictures shown are moral and in- 
structive. The great outcry of certain 
uninformed persons against them which 
existed not long ago has subsided. Our 
part is to safeguard these shows in all 
respects, physical, mental, and moral, by 
a good ordinance. 

"Respectfully, 

"W. J. Gaynor, Mayor." 

The committee on laws and legislation 
of the Board of Aldermen will be asked 
to take the matter up at once. 



INDEPENDENT RELEASE 
DATES. 

Sunday — Eclair, Gaumont, Rex. 

Monday — American, Champion, Imp, 

Nestor. 

Tuesday — Eclair, Powers, Republic, 
Thanhouser. 

Wednesday— Ambrosia, Champion, 

Nestor, Reliance, Solax, Animated 

Weekly. 

Thursday — American, Eclair, Gau- 
mont, Imp, Rex. 

Friday— Bison 2-Reel Subjects, Lux. 
Solax, Thanhouser. 

Saturday — Great Northern, Imp. 
Powers, Nestor, Republic, Reliance. 



LICENSED RELEASE DAYS. 

Monday — Biograph, Kalem, Lubin, 
Pathe, Selig, Vitagraph. 

Tuesday — Edison, Essanay, C. G. P. 
C, Cines, Selig, Vitagraph. 

Wednesday — Edison, Eclipse, Kalem, 
Lubin, Pathe, Vitagraph. 

Thursday — Biograph, Essanay, Lubin, 
Melies, Pathe, Selig. 

I ■ l l'l.l\ I' <ll . HI, T • ... I I 1, 1 \ , I ..drill, Si' ■ 

lig. C. G. P. C. Vitagraph. 

Saturday — Edison, Essanay, Cines, 
Lubin, Pathe, Vitagraph. 




THE CLOWN'S TRIUMPH 



Humor and pathos of stage life. 



Copyright 1912 by Imp Films Company 





A clown rescues a girl waif; falls in love with her; is parted from her, but 
is finally united to her in the hour of his success. 



5-23-12 



IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



J fB£M IMPS 
■ EVERY WEEKT. 



THE "IMPLET" 






Humor of a Film Exchange 



(We are indebted to our contempo- 
rary, The E-M-Press, published at 
Faribault, Minn., for the following 
exceedingly humorous concept of 
what happens amongst the staff of a 
film exchange in the course of a day's 
work. It is real funny.) 
Every time we cum to town 

The boys they start kickin' our 
dawg aroun'. 
Makes no difference if he is a houn', 

They gotta stop kickin' our dawg 
aroun'. 

Minneapolis, Minn. 
Mr. E-M-Press:— 

Whoops! Say, s'pose you wonder 
how we got into Minneapolis. Well, 
you know that dawg he done it. You 
see, the night he got blowed up, we 
didn't knowed where he went. But, 
say, do you know they even get the 
E-M-Press up here, and a feller he 
seen the dawg here goin' into a picter 
show an' he sent me a telegraf an' 
so we cum up here to get the dawg. 
And by golly, we're havin' some hot 
time up here. We went up to look at 
Laemmle's Film Company Exchange 
where you get your films from; an' 
say, they got the biggest place what 
we never saw. An' busy! Glory; they 
do a lot of work, an' business up here. 
There they was a-sendin' out hun- 
dreds of shows all over the country 
an' gettin' all kinds of new picters. 

They've got some 'fine, up-to-date 
place here, with a big film cleaning 
plant to clean films what cost thou- 



sands of dollars, an 'they got lots of 
hired help, too, to fix up the films in 
a first class shape. 

Say, you ought to heard what funny 
talk they talk up here in the Film 
Exchange. I an' the dawg, we coud- 
den't hardly understand it. This is 
a sample of some of the talk. Some 
girls what was inspectin' films was 
talkin': 

Oh, girls! I had the most lovliest 
time with Harry las' night. Wei, I 
should say! We went down to the 
skatin' rink and Harry bought two 
big lemmonades. He said there wus 
sticks in 'em, but I cudden't see 
nuthin' but straws. 

Char-lee, hand me number four- 
thirty-two. No! I don't either mean 
four-twenty-three. Skidoo your own 
self. I guess I know four-twenty- 
three is that bad man from Texas and 
Maude Adams' brother's wife acts in 
it, so there now! 

Oh, cheese an' crust; jis' look at 
them there sprockets. That opera- 
tor at the Imp-ress in Fareebolt mus' 
uv shot that filum with a gun. For 
goodness' sake, girls! Come here! 
Come here! Come here! an' jus' look 
at the oil spots on this. "Wrecks" 
filum. Sure, it's enuff to make a 
salad! 

Char-lee, give muh a clean rag. 
No, I don't want to chew it; I jus' 
want to wipe this filum with it. 

Say, girls; d'ye know how they take 
off oil spots over to 's ex- 
change? Well, listen. They jis' rub 



'em all over the filum. Simple, hain't 
it? Watch me do it. 

Char-lee, what time is it? 

Say, Maggie, I wus on the Lyrick 
stage the other mornin' with Harry. 
You know he's janitor there now. 
Well, what d'ye think! That dirty 
operator he wus in his buth, an' he 
trowed a spot-light onto me so't all 
the stage hands could jis' look right 
thro' my linggery. I wudden't 
a-cared so much if Fd a-had my Sun- 
day ones on. 

Oh, pshaw! Here's a kissin' seene 
without no sprockets. Guess Fll have 
to cut it out. Mebby I could side- 
patch it. I do so hate to cut out them 
kissin' seenes. 

Char-lee! O, C-h-a-r-1-ele! Did you 
wash that three-hundred-and-five? 
You know it ain't ever been washed 
none yet. What? Me wash it! Well, 
I guess not! When I wants to be a 
wash lady I'll git a job in a lawndry. 

You'll tell the manager — tell him! — 
tell him! — tell him! What do I care! 
He hain't the hull thing 'round here. 
Fire me? Well, I guess nit! I know 
sumpin' 'bout him that — that — jis' try 
it! that's all. 

Say, Char-lee; what time is it? 

Say, hain't that lazy expressman 
came yet? Ton my soul, he gets to 
come later ev'ry day. 

Gee, cats! but this is rotten cement! 
I wonder what's in it? 

Say, Char-lee. I as't you, as a lady, 
what time is it? Is it . Gee! 



Hurry up, girls! Maggie, gimme a 
coupla pins. You kin bet your sweet 
life I don't make no more patches to- 
day. Jis' lookit my han's! Hain't 
they a sight? 'Fore I kin clean 'em 
it'll be past blowin' time, so I guess 
I'll quit. 

Well, it's me for the roller rink 
again to-night. S'long girls. Good- 
bye, Charley. 

Say, that's th' way they wus a-goin' 
on. So me an' th' dawg we looked 
aroun' a little while longer. Say, they 
got that big Titanic Disaster in mo- 
tion pictures. It will be in here nex' 
Friday and Sat., May 3 and 4, an' they 
will send it right down to you in 
th' afternoon so you kin show it Fri- 
day and Saturday. They wus goin' t' 
send it for Wed., May 2d, but they 
cudden't get it all made in time. Well, 
it's gettin' late, so me an' the dawg 
is a-goin' to close. An', say, we will 
start for Faribault this week, so we 
will be there Wed. about. Say, I 
hears them B. P. O. Elks is a-goin' 
t' have a Minstrel show down there 
in Faribault nex' Wed. and Thurs. 
Gee! I bet it's a-goin' to be great as 
ever. So, s'long. Will see you next 
week. 

SI SLOWCUM AND DAWG. 

P. S. — Bryson, of Laemmle's, tells 
me to tell you he will have Nicholas 
Nickelby down there for Thurs. and 
Fri., May 2 and 3. Say, this is some 
picture, too. 

S. S. AND D. 



LIST OF THE INDEPENDENT 
MANUFACTURERS. 

American Film Manufacturing Co., 
Ashland Block, Chicago, 111. 

Carlton Motion Picture Labora- 
tories, 540 W. 21st St., New York 
City. 

Champion Film Company, 145 W. 
45th St., New York City. 

Comet Film Company, 344 E. 32d 
St., New York City. 

Eclair Film Company, Fort Lee, 
N. J. 

Imp Films Company, 102 W. 101st 
St., New York City. 

Lux Film Company, 10 E. 15th St., 
New York City. 

Majestic Motion Picture Company, 
145 W. 45th St., New York City. 

Nestor Film Company, 688 Avenue 
E, Bayonne, N. J. 

New* York Motion Picture Com- 
pany, 251 W. 19th St., New York 
City. 

Great Northern Film Company, 7 
E. 14th St., New York City. 

Powers Motion Picture Company, 
511 W. 42d St., New York City. 

Republic Film Company, 145 
45th St., New York City. 

Rex Motion Picture Company, 
Eleventh Ave., New York City. 

Solax Company, Congress Ave. 
Flushing, Long Island. 

Thanhouser Company, New Ro- 
chelle, N. Y. 



W. 



573 



TWO-REEL SUBJECTS. 

To the Editor: 

Allow us to compliment you on your 
great production of "Shamus O'Brien." 
We had the pleasure of running this to- 
day, and it is considered by our pa- 
trons, as well as ourselves, to be the 
best two-reel feature we have ever run. 

Hoping we will receive more of that 
kind in the near future, we are, 
Very truly yours, 
PARK PHOTO SHOW CO. 
Park Photo Theatre, Weightman Block, 
Williamsport, Pa. 

["Lady Audley's Secret," a two-reel 
subject (May 16th) should equal, if not 
surpass, "Shamus" in popularity. Other 
two-reel subjects are in preparation. — 
Editor.] 




It's the IMP 



Margarita Fischer 



IT IS THE IMP 

which produces "Lady Aud- 
ley's Secret" the gripping 
2-reel English Society Drama 
of Early Victorian days— De- 
mand This Picture. 

IT IS THE IMP 

which produces the magnifi- 
cent Drama of the Sea "The 
Return of Captain John" one 
of the most exquisitely pic- 
torial offerings ever pre- 
sented-Demand this Picture. 

IT IS THE IMP 

which produces "The Peril" 
a Decoration Day Military 
Drama illustrating life in a 
U. S. Military Fort and tell- 
ing a powerful story of for- 
eign treachery-Demand this 
picture. 

IT'S ALWAYS THE IMP 

which does the big things in 
a big way; and the timely 
things at the right time. It's 
always the Imp that keeps 
your programs alive and 
spends money lavishly to 
make you proud you're 
Independent. 




THE MAID'S STRATAGEM 




High life below stairs. 

Copyright 1912 by Imp Films Company 




A smart servant girl impersonates her mistress at a society function. 

On her return home, she is dismissed by her mistress but finds 

consolation in securing a handsome young lover. 



5-25-12 



On the same reel VIEWS OF LOS ANGELES, CAL. 

IMP FILMS COMPANY 






102 West 101st Street, New York 



Carl Laemmle, Pres. 



THE "IMPLET" 



THE STORIES OF THE IMP FILMS 




"THE CLOWN'S TRIUMPH." 

Thursday. Release May 23, 1912. 

Approximate Length, 1,000 Feet. 

(Copyrighted, 1912, by Imp Films Company.) 

Ravelle, a clown, with a traveling circus, is 
in love with Mima, the little columbine, and 
she with him, but in an indiscreet moment she 
accepts an invitation to dinner from a gal- 
lant attending a performance. Ravelle thinks 
she is unfaithful, and when she returns after 
an innocent evening's amusement he drives her 
away. 

Penniless, Mima wends her way along the 
lonely country road until, tired, she is given 
a lift by an old vegetable woman, who takes 
her to London in the wagon. There she finds 
a home with a fellow circus woman, and 
through her meets a theatrical manager, who 
gives her an engagement at the Theatre Royal. 

One night Bert Grinnaldi, the famous clown, 
meets with an accident, and it looks as though 
there will be no performance that night. All is 
confusion. The manager rushes out in search 
of a substitute, and to his delight discovers 
the traveling circus wagon of which Ravelle 
is a member. He rushes up to the clown, 
drags him into the dressing room and forces 
him on the stage. Ravelle makes a tremen- 
dous hit. Suddenly he comes face to face 
with the woman, whom he thinks has wronged 
him. She leaves the stage, and sobbing goes 
to her dressing room, where she writes Ra- 
velle a note, and then disappears. Ravelle, on 
receiving it, goes to find her, but his search 
is in vain. 

The little actress falls ill, and by chance 
Ravelle learns that her life is in danger. He 
tries to see her, but the doctor forbids this. 
Mima gets sufficient strength to write, as she 
thinks a farewell note, sending him a little 
bunch of roses. These he receives with many 
other floral offerings, as he performs before 
the King of England and the President of 
France, and amid the plaudits of his public 
rushes from the theatre to the bedside of his 
sweetheart. 

A new joy comes into her life as she sees 
him by her side. The crisis has passed — she 
will live. Thus Mima and Ravelle are re- 
united, and two lives made happy again. 




"THE MAID'S STRATAGEM." 

Saturday Imp Release, May 25. 1912. 

Approximate Length, 600 Feet. 

(Copyrighted, 1912, by Imp Films Company.) 

Bridget Kelly is a very pretty Irish girl, ac- 
complished and with a good education. She 
is maid to Mrs. Warner, an arrogant society 
widow, who is hated by all her servants. Mrs. 
Warner receives an invitation to a big society 
affair at which the Governor of the State will 
receive, but as she is hurriedly called away 
by the illness of her mother she finds it impos- 
sible to attend. 

Bridget desires to shine as a lady and feels 
that she can hold her own with any of them. 
She forges her mistress' name to a letter, 
stating that she is unable to be present, but 
that she is sending her niece to represent 
her. Bridget dons one of Mrs. Warner's 
gowns and attends the reception. Owing to 
her wit, beauty and musical accomplishments 
she makes a decided hit. A young millionaire 
falls in love with her and begs permission 
to call. This is granted. 

Meanwhile word is received from Mrs. War- 
ner that all the servants are to be discharged. 
Before this is done, however, they agi 
Bridget shall invite her friend to dinner, so 
they may srr for themselves how will she 
can play the lady. This dinner promises to be 
a great success, but in the midst of it, to 
their consternation, the real mistress arrives. 



All the servants make a hasty retreat and 
leave Bridget to her fate. 

Mrs. Warner denounces the girl as an im- 
postor, but the young fellow, being really in 
love with Bridget for herself, and not her 
social standing, proposes marriage, and to 
Mrs. Warner's great surprise the girl tear- 
fully accepts. 




"VIEWS OF LOS ANGELES, CAL." 

Saturday. Imp Release, May 25, 1912 
(Copyrighted, 1912, by Imp Film Company.) 

Los Angeles, Cal., is counted one of the 
most beautiful and progressive cities in the 
United States. It is fortunate in its situation, 
being near the Pacific and under the shadow 
of picturesque mountain ranges. 

This picture gives a very good idea of the 
architectural and commercial features of the 
city, and in panoramic form shows the beau- 
tiful residential environment. It also in- 
cludes views on an ostrich farm, together with 
pictures of alligators on a farm devoted to 
the propagation of amphibians. 

This film of Los Angeles should be of in- 
terest to all moving picture fans, as a vast 
amount of moving picture making is accom- 
plished in Los Angeles and vicinity by the 
various moving picture companies who have 
branch studios there. 



he finally accomplishes the end in view and 
becomes indeed a giant in strength. His 
friends and family, and especially Clarice, look 
on in amazement at the wonderful acts of 
strength he performs, and when at the end 
of the evening's surprises he picks up the un- 
resisting girl and bears her off to a clergy- 
man's house to be married the climax is 
reached. 

Of course, when Clarice realizes what it 
means, she does not submit passively, but 
such struggles are apparently unnoticed by the 
strong man. His destination being reached, 
the marriage ceremony is performed. Just 
then the girl knows she does care very much 
indeed for George, and when there intrudes 
upon them her entire family she is indignant, 
and peremptorily commands them to depart. 
This they do forthwith, leaving the husband 
and wife alone in their new found happiness. 

This is a unique comedy, with King Bag- 
got in the title role, and will appeal to all 
classes of picture fans, in virtue of its many 
amusing incidents, besides being exceedingly 
well acted. 




"A CAVE MAN WOOING." 

Monday. Imp Release. May 20, 1912. 

Approximate Length, 1.000 Feet. 

(Copyrighted, 1912, by Imp Films Company.) 

George, our hero, falls in love with Clarice, 
a fascinating young girl of an athletic turn 
of mind. There is a rival in the field, how- 
ever, one who would attract any woman— a 
manly man. While poor George is a weakling, 
consequently he is decidedly out of it in the 
race for her heart and hand. 

At tliis time he reads in an article published 
in the papers by a famous authoress that 
women like cave-man methods to-day, just as 
they did hundreds of years ago. This is a tip 
which he promptly takes advantage of. 

lie joins a class in physical culture, and 
after many amusing and exciting experiences 




"THE PERIL." 

Thursday. Imp Release, May 30. 1912. 

Approximate Length, 1,000 Feet. 

(Copyrighted, 1912, by Imp Films Company.) 

The peril that threatens in a greater or less 
degree the entire civilized world is the key- 
note of our current picture. 

ITokoruma, a Japanese soldier, is sent to 
San Francisco to obtain, at all hazards, a 
plan of the new harbor fortifications, about 
to be erected. He registers at a Japanese 
employment bureau, and through this means 
secures a position of butler in the home of 
the commanding general, Colonel Jones. This 
gives him the opportunity of learning and 
seeing much that is necessary for him to know 
in accomplishing his end. 

The colonel's daughter, Clara, is engaged 
to Lieutenant Pond, and the marriage is dated 
for the near future. At the Officers' Club 
Lieutenant Pond is guilty of an act unbecom- 
ing to a gentleman, and the colonel, who is 
severe but just, offers him the choice of two 
alternatives — court-martial or resignation. The 
lieutenant is overwhelmed with the threatened 
disgrace. But he thinks he sees a means of 
escape — he will persuade his fiancee to elope 
with him — the colonel would never carry out 
the proceedings against his son-in-law. 

II. enters Clara's home secretly, and while 
waiting in a dark room, while she is pre- 
paring to join him, a man stealthily creeps in 
and endeavors to make away with some im- 
portant papers which art' kept in a secret 



WHERE IMP FILMS ARE SHOWN 




^ atest 

Mohm Picture 

£vff> Snonn 

AnoGrew 

iBott 



drawer. Recovering from the surprise the 
lieutenant springs on the intruder, and there 
is a terrific struggle, at the height of which 
Clara enters the room. She is horrified to 
see her lover in the clutches of a supposed 
burglar, and immediately arouses the house- 
hold. Her parents appear, and the spy suc- 
cumbs to the vigorous blows inflicted by his 
opponent. When the lights are turned on it 
is revealed that the would-be robber is none 
other than Hokoruma, the butler. 

Lieutenant Pond is, of course, fully forgiven 
by the colonel, who is saved from disgrace by 
the courage displayed by the man whom he 
was to court-martial, and to whom he now 
willingly and gladly gives his daughter. 




"THE THIRST FOR GOLD." 

Monday. Imp Release, May 27, 1912. 

Approximate Length, 1,000 Feet. 

(Copyrighted, 1912, by Imp Films Company.) 

John Brown leaves his home in the East 
to seek his fortune in the gold mines of the 
Far West. For fifteen years he struggles 
against fate — the riches he has sought so long 
and arduously do not come to him. After 
this, his last, desperate effort, he had decided 
that if still unsuccessful he would return to his 
eastern home. He fails to find the precious 
metal, and his provisions being out and his 
supply of water almost gone, he breaks camp 
and starts across the desert to the nearest 
settlement. 

He loses his way, and for several days wan- 
ders aimlessly. In the distance lie sees a 
figure approaching. When they meet, he dis- 
covers it is a young man, a prospector like 
himself — unkempt and disheveled — without pack 
or water bottle; also that he is delirious, pre- 
sumably from thirst. He seizes John's water 
bottle, and there is a terrific struggle. He is 
finally overpowered. The stranger offers nug- 
gets from a rich strike he has just made for 
a drink of water. John refuses, for there is 
only a few drops of the liquid remaining. 
The young man pleads for his mother's sake, 
and John is again about to refuse, when he 
sees a vision of his own mother, as he last 
saw her fifteen years ago, and he tenders his 
bottle. Together they start out on their long 
journey through the desert. 

They are suffering greatly and are almost 
exhausted when, far in the distance, John sees 
a railroad train. Knowing there must be 
water in that direction they strain every ef- 
fort to reach the distant spot. The stranger 
is exhausted, and John almost so from carry- 
ing him. At last the goal is reached — here 
is a water tank — John pulls the rope, releas- 
ing the water, and both men fall into it. 

The younger man, thinking he will die, gives 
John a paper, showing the location of the mine 
which he was crossing the desert to have 
filed, and offers it to him if he will promise 
to take care of his mother, a photograph of 
whom he also shows to John. In this pic- 
tured face, to his intense amazement, he rec- 
ognizes his own mother, And the young pros- 
pector is his own brother, Walter, whom lie 
left at home a small boy. The shock of find- 
ing a brother revives Walter, and they then 
make their way to town and file the claim. 
Then home to mother and luxury. 

The story closes with the two brothers 
being warmly welcomed by the mother in 
I lie East. 



WHERE IMP FILMS ARE SHOWN 




THE "IMPLET" 



INDEPENDENT RELEASE DATES 



RELEASE DAYS. 

Monday — Imp, American, Champion, Nes- 
tor. 

Tuesday — Eclair, Powers, Republic, Than- 
houser. 

Wednesday — Ambrosio, Champion, Nestor, 
Reliance, Solax, Sales Co. 

Thursday — Imp, American, Eclair, Gaumont, 
Rex. 

Friday — Lux, Solax, Thanhouser. 
Saturday — Imp, Great Northern, Nestor, 
Reliance, Republic. 

Sunday — Eclair, Gaumont, Rex. 

IMP. 

April 13 — A Leap for Love (Dr.) 500 

April 13— Mr. Smith, Barber (Com.) 500 

April 15 — Rescued by Wireless (Dr.) 1000 

April 18 — Woman Always Pays (Dr.) 1000 

April 20 — Lonesome Miss Wiggs (Com.). 600 
April 20 — Scenic Wonders of Yellowstone 

Park (Scenic) 400 

April 22 — A Millionaire for a Day (Com.). 1000 

April 25— The Loan Shark (Dr.) 1000 

April 27 — U. S. Artillery Manoeuvers (Mil.) 400 

April 27 — A piece of Ambergris (Dr.) 600 

April 29 — The Lure of the Picture (Dr.).. 1000 

May 2— All for Her (Dr.) 1000 

May 4— Melodrama of Yesterday (Com.) 600 

May 4— Breach of Promise (Com.) 400 

May 6— On the Shore (Dr.) 1000 

May 9 — The Land of Promise (Dr.)... 1000 

May 11— The Staff of Age (Dr.) 600 

May 11— Let Willie Do It (Com.) 400 

May 13 — Jim's Atonement (Dr.) 

May 16 — Lady Audley's Secret (Dr.)... 

May 18— Henpecked Ike (Com.) 

May 18— ENGLISH STAG HUNTING, 

(Sporting) 
May 20 — A Cave Man Wooing (Com.).. 
May 23 — The Clown's Triumph (Dr.)... 
May 25— The Maid's Stratagem (Com.).. 
May 25— Views of Los Angeles, Cal. (Sc). 

May 27— The Thirst for Gold (Dr.) 

May 30— The Peril (Dr.) 

June 1— Up Against It (Com.) 

June I— The Art of Making Silver- 
Plate (Ind.) 

June 3 — The Breakdown (Dr.) 

June 6— The Return of Captain John, 

(Dr.) 
June 8— A Case of Dynamite (Com.)... 
June 8— Fun in a U. S. Military Camp, 

(Sporting) 
June 10— Nothing shall be Hidden (Dr.). 

June 13 — Channels of Love (Dr.) 

June 15— How Shorty Won Out (Com.).. 
June 15— Bull Fight in Texas (Sporting). 

AMERICAN. 

April 11 — The Coward (Dr.) 1000 

April 15 — The Distant Relative (Dr.) 1000 

April 18 — The Range Detective (W. Dr.). 1000 

April 22 — Driftwood (W. Dr.) 1000 

April 25— The Eastern Girl (W. Dr.) 1000 

April 29 — The Pensioners (W Dr) 1000 



May 


2- 


May 


6- 


May 


9- 


May 


13- 


April 


3 


April 


3 


April 10 


April 17 


April 17 


April 24 


May 


1- 


April 15 


May 


1- 


April 


10- 


April 15- 


April 


17- 


April 17- 


April 22- 


April 24- 


April 24- 


May 


1- 


May 


6- 



May 8- 



April 16- 
April 18 
April 21- 
April 21- 
April 23- 

April 25- 
April 28- 
April 28- 
April 30- 



May 

May 

May 

May 

May 

May 12 

May 12 



April 14- 
April 18- 
April 21- 
April 25- 
April 28- 



April 28 
May 2- 
May 2- 
May 5 
May 9 



May 12- 
May 12- 



-The End of the Feud (Dr.) 1000 

-The Wedding Dress (Dr.) 1000 

-The Myth of Jamasha Pass (Dr.)1000 

-The Other Wise Man (Dr.) 1000 

AMBROSIO. 

—A Mother's Love (Dr.) 

—A Dancing Fit (Com.) 

—The Wedding Dress (Dr.) 

—The Tramp and the Barrel (Com.) 

—A Day of Haste (Com.) 

—Reaping the Harvest (Dr.).... 
— (No release this date.) 

BISON 

-Blazing the Trail (Dr.) 

—The Post Telegrapher (Dr.).... 
CHAMPION. 

-Salvation Sue (Dr.) 950 

—Baby's Adventures (Com.) 950 

—A Gay Deceiver (Com.) 

—Bermuda (Sc.) 

-Winona (Dr.) 950 

-Brothers (Dr.) 950 

—The Horse Thieves of Bar X 

Ranch (Dr.) 950 

-An Italian Romance (Dr.) 950 

-Realization of a Child's Dream 

(Dr.) 950 

-Lucky Jim (Dr.) 950 

ECLAIR. 

—A Son's Ingratitude (Dr.) 

—Oh! You Ragtime (Com.) 

—A Generous Pardon (Dr) 

—Portuguese Dancers (Dance) . . . 
—Legend of Sleepy Hollow (Com. 

Dr.) 

-The Easter Bonnet (Com.) 

-Miette's Adventures (Dr.) 

-Fishes of the Tropics (Edu.)... 
-The Revenge of the Silk Masks 

(Com.) 

-Cousin Kate's Revolution (Com.) 
-The Voice of the Past (Dr.)... 
-The Alhambra Granda (Edu.). 

-The Raven, 2 reels (Dr.) 

-Her Week of Anguish (Com.). 

-A Useless Sacrifice (Dr.) 

-Arabian Customs (Edu.) 

GAUMONT. 

-The Prairie on Fire (Dr.) 

-A Bet and Its Results (Com.) . . 
-The Mysterious Cigarette (Dr.) 
-Jimmie Pulls the Trigger (Com.) 
-Heliogabalus, Tyrant of Rome 

(Dr.) 

-Dinant of the Meuse (Scenic).. 
-The Shade of Autumn (Dr.) .... 
-The Banks of the Danube (Scenic) 
-Driven from the Ranch (Dr.).. 
-Jimmie, the Bold Buccaneer 

(Com.) 1000 

-The Lost Ring (Dr.) 

-Upper Bavaria (Scenic) 



GREAT NORTHERN. 

April 6 — During the Carnivals (Com.)... 

April 13 — Joke on Henpeck (Com.) 

April 13 — Glimpses of Southern France (Sc.) 

April 20— Those Eyes (Dr.) 

April 20— Revenge Is Blind (Dr.) 

April 20 — Clever Boys (Acrobatic) 

April 27— The Dream of Death (Dr.) 

May 4 — The Musician's Love (Dr.).... 
May 4 — Norwegian Mountain Clefts (Sc.) 

LUX. 

April 5— Bill Mentally Deranged (Com.) 478 
April 5 — An Enjoyable Ride (Com.).... 426 
April 12— The Miner's Claim (W. Dr.)... 960 
April 19 — An Embarrassing Purchase 

(Com.) 514 

April 19 — Ching-Chang in Paris (Com)... 429 

April 26— The Crimson Heart (Dr.) 937 

May 3 — Go to the Rescue! (Com.) 557 

May 3 — Arabella's Droll Wooing (Com.) 377 

May 3— Bill As a Brigand (Com.) 557 

May 10 — The Lassie from Aberdeen (Dr.) 521 

May 10— Bill as the Detective (Com.)... 390 

NESTOR. 

April 17 — Her Indian Hero (W. Dr.) 

April 20— The Love Trail (Corn.) 

April 22— Lottery Ticket No. 13 (Dr.)... 
April 24— The Little Nugget (W. Dr.)... 

April 27— Three of a Kind (Com.) 

April 27 — American Lumber Mill — Albu- 
querque, New Mexico (Ind.) 

April 29— The Impostor (Dr.) 

May 1— The Everlasting Judy (Com. -Dr.) 
May 4 — Her Corner on Hearts (Com.) 
May 4— Isleta, N. M., Indian City (Sc.) 
May 6 — The Ten of Diamonds (Dr.)... 
May 8— The Thespian Bandit (W. Com.) 

May 11— A Game of Bluff (Com.) 

POWERS. 
April 16 — Her Lord and Master (?) (Com.) 

April 16— What's the Use? (Com.) 

April 20— Ethel's Sacrifice (Dr.) 

April 23 — Bangs' Burglar Alarm (Com.).. 

April 27— The Schemers (Dr.) 

April 30— When the Lily Dies (Dr.) 

April 30 — The five Senses (Com.) 

May 4 — In Friendship's Name (Dr.)... 
May 7 — A Bridegroom's Troubles (Com.) 

May 11 — Retribution (Dr.) 

RELIANCE. 

April 3 — Birthday Present (Dr.) 

April 3 — Raising Alligators (Ind.) 

April 6— Mother (Dr.) 

April 10— When the Heart Calls (Dr.) 

April 13 — An Opportune Burglar (Com.). 
April 17 — A Question of Evidence (Dr.).. 

April 20— Love Is Blind (Dr.) 

April 24 — The Burglar's Reformation (Dr.) 
April 27 — Bedelia as a Mother-in-Law 

(Com.) 

April 27 — The Pygmy Circus (Edu.) 

May 1 — Return of John Gray (Dr.).... 



May 4— His Love of Children (Dr.) 

May 8— The Recoil (Dr) 

May 11— The Miser's Daughter (Dr.) 

REPUBLIC. 

April 2— Two Women (Dr.) 

April 6— A Dual Personality (Dr.) 

April 9— Cure for Stage Fever (Dr.)... 

April 13— A Tragic Moment (Dr.) 

April 16— Los Anarquistas (Dr.) 

April 20— A Severe Lesson (Dr.) 

April 23— The Averted Step (Dr.) 

April 27 — The Claim Jumper (Dr.) 

April 30— The Tale of a Kite (Com. -Dr.). 

May 4— On the Tide (Dr.) 

May 7— The Baby's Shoes (Dr.) 

May 11— From the Path Direct (Dr.)... 
REX. 

April 4 — Modern Slaves (Dr.) 

April 7 — The Unending Love (Dr.) 

April 11— A Tangled Web (Dr.) 

April 14— The Seal of Time (Dr.) 

April 18 — Beauty and the Beast (Dr.) 

April 21— While Wedding Bells Ring Out 

(Dr.) 

April 25— The Fashion Review (Topical) 

April 28 — The Serpent's Eyes (Dr.) '. 

May 2— Fate's Warning (Dr.) 

May 5 — A Thorn in Vengeance (Dr.)... 

May 9— Drawing the Line (Dr.) 

SALES CO. 
April 3— Animated Weekly No. 4 (Top.) 
April 10 — Animated Weekly No. 5 (Top.) 
April 17— Animated Weekly No 6 (Top.) 
April 24— Animated Weekly No. 7 (Top.) 
May 1— Animated Weekly No. 8 (Top.) 
May 8 — Animated Weekly No. 9 (Top.) 
May 15— Animated Weekly No. 10 (Top.) 

SOLAX. 
April 5 — Bill's Troublesome Grip (Com.) 
April 10— The Detective's Dog (Com.-Dr.) 

April 12— Billy's Nurse (Com.) 

April 17— Saved by a Cat (Dr.) 

April 19— Billy the Detective (Com.) 

April 24— The Sewer, 2 reels (Dr.) 

April 26 — Billy's Insomnia (Com. ) 

May 1 — The Reformation of Mary (Dr.) 
May 3— A Question of Hair (Com.)... 

May 8— The Wooing of Alice (Dr.) 

May 10— Auto Suggestion (Com.) 

THANHOUSER. 
April 2 — The Star of the Side Show (Dr.). 
April 5— The Girl of the Grove (Dr.)... 
April 9— A Love of Long Ago (Dr.)... 

April 12— An Easy Mark (Dr.) 

April 16— The Baby Bride (Dr.) 

April 19— Into the Desert (Dr.) 

April 23 — Rejuvenation (Dr.) 

April 26 — When Mandy Came to Town (Dr.) 
April 30 — The Cry of the Children, Parts 

I and II (Dr.) 

May 3— Miss Arabella Smith (Dr.) 

May 7— The Saleslady (Dr.) 

May 10 — Love's Miracle (Dr.) 



"Imp Film Ads." 

[See Editorial on page 1 of "The Implet."] 



A Cave Man Wooing 

A supremely mirthful 
Imp Comedy. 
Novel in plot; briskly 
acted; a scream from 
end to end. 
King Baggot and all 
of the Imp Stars at 
their best. 



The Clown's Triumph 



A beautiful Imp drama 
about a clown and his 
tender love for a pretty 
girl. Vivian Prescott is 
Mimi and Herberr Brenon 
is Ravelle. Graphic scenes 
of stage life and sentiment, 



The 
Maid's Stratagem 

Imp Split Comedy 

How a smart little 
maid impersonated 
her mistress at a so- 
ciety function; lost 
her job, but won a 
husband. 



10 



THE "IMPLET" 



THE KSmSHTUm OF MR. AffiOST BUTT 

Copyright 1912 Car] Laommk ' 



Copyright 1912 Carl Laeznmle 



He ALMOST Gets a Great Moving Picture This Time, BUT — 



I WANT A LOT 




tr.MCAMt 



THE "IMPLET" TRADE DIRECTORY 

Following is a first list of advertisers from whom readers of "The Implet" may order motion picture theatre supplies: 



Decorators' Supply Co. 



ARCHITECTS 

2549 Ascher Ave., Chicago, 111. 



CARBONS 



L. E. Frorup 432 Greenwich St., New York City 

Chas. L. Kiewert 165 Greenwich St., New York City 

Hugo Reisinger ll Broadway, New York City 

CHEMICALS FOR DEVELOPMENT 

Berlin Aniline Co Water Street, New York City 

ELECTRICAL SUPPLIES 

Fort Wayne Electrical Co 1402 Broadwey, New York City 

J. H. Halberg 36 East 23rd St., New York City 

H. A. Mackie 851 Broadway, New York City 

Moore Hubble Co 34 N. Franklin St., Chicago. 111. 

E. Schneider 219 Second Ave., New York City 

LENSES 

Bausch & Lomb Optical Co Rochester, N. Y. 

Gundlach-Manhattan Optical Co Rochester, N. Y. 

MISCELLANEOUS 

A. B. C. Co. (Posters) Cleveland, O 

Amusement Supply Co 107 N. Dearborn St., Chicago 

American Slide & Poster Co 538 First Nat. Bank Bldg., Chicago 

Chicago Projection Co 219 N. Dearborn St., Chicago 

A. J. Corcoran (Developing Tanks) 11 John St., New York City 

Exhibitors' Adv. & Specialty Co 105 East 14th St., New York Citv 

Geo. Hoke 176 N. State St., Chicago 

Lavezzi Co 2940 Herndon St., Chicago 

Harback Co 809 Filbert St., Philadelphia 

McKenna Bros Pittsburg, Pa. 

Mortimer Film Cleaner Co 703 Fidelity Bldg., Portand, Me. 

National Ticket Co Shamokin, Pa. 

National X-Ray Reflector Co 235 Jackson Blvd., Chicago 

Newman Electrical Lamp Co 3346 Banaparte Ave., Cincinnati. 

Theatre Film & Supply Co 64 East 14th St., New York City 

Tilley Bros Austin, Texas 

United Roofing & Mfg. Co Philadelphia, Chicago, Kansas 

City, San Francisco 

U. S. Factories Co 423 Dickey Bldg., Chicago 

Zenith Mfg. Co Box 252, Cincinnati, O. 



MUSICAL INSTRUMENTS 

J. C Deagan 3800 N. Clark St., Chicago 

Rudolph Wurlitzer 25 West 32nd St., New York City 

OPERA CHAIRS 

American Seating Co 15 E. 32d St., New York City 

A. H. Andrews 115 So. Wabash Ave., Chicago 

Geo. W. Bennett '. 744 West 5th St., Chicago 

Hardesty Chair Co Canal Dover, O. 

E. H. Stafford Chicago, 111. 

Steel Furniture Co Grand Rapids, Mich. 

Wisconsin Lumber Co New London, Wis. 

PROJECTORS 

American Moving Picture Mach. Co 102 Beekman St., New York City 

Edison Moving Picture Mach. Co Orange, N. J. 

Enterprise Optical Co 564 W. Randolph St., Chicago 

Nicholas Power 115 Nassau St., New York City 

Simplex Co East 14th St., New York City 

PROJECTION SCREENS 

American Theatre Curtain Co Main & Chestnut Sts., St. Louis 

Coyle Curtain Co Canton, O. 

Inventor's Specialty Co 401 Ashland Block, Chicago 

Mirroroid Co., J. H. Genter Co New York City 

RAW FILM 

J. E. Brulatour East 27th St., New Yorl< City 

Eastman Kodak Co Rochester, N. Y. 

Cine Film Co 145 W. 45th St., New York City 

SLIDE MANUFACTURERS 

American Motion Slide Co 611 First Nat. Bank Bldg., Chicago 

Excelsior Slide Co 61 West 14th St., New York City 

Kansas City Slide Co 1332 Grand Ave., Kansas City, Mo. 

Hunter-Fell-Elliott Co 1326 Broadway, New York City 

Levi Co 1560 Broadway, New York City 

North American Slide Co 23 North 9th St., Philadelphia 

Scott & Van Altena Co 59 Pearl St., New York City 

A. L. Simpson 113 West 132d St., New York City 

Utility Transparency Co 1733 West 9th St., Brooklyn 



tmmgm 



s^a 



SMASH GO THE PRICES!!! 

JUST A FEW STATES LEFT OF THE MOST WONDERFUL PRODUCTION 

"THE CRUSADERS" or "JERUSALEM DELIVERED" 

Exclusive Territory Without A Bonus — Small Investment — Big Profits 

A Three-Reel Feature of Tremendous Interest-A Great Historical Subject. 

Marvelously staged and enacted by the World's Best Actors. 

The story of the Holy War waged in Palestine between 

the Christians and the Saracens. 



Eight Sheet, Three Sheet and One Sheet 

Posters and Heralds. 

Live State -Right Buyers 

Can Earn A Fortune 



COLONIAL BUILDING 

PHONE RIVERSIDE 4914 




Just a few desirable states open 
Wire, Phone or Write Today 

Columbus Avenue and 101st Street 
N E W YORK CITY 



"Fea.it*re Films €r Nothing Else" 



THE DEATH SHIP 



or, "THE WRECK 

THE FILM OF A THOUSAND THRILLS! 



OF THE AURORA" 



STATE-RIGHTS, 15c. a Foot 
NO EXTRA CHARGES 

Secure valuable, exclusive State-rights before it is too late. Wire, phone or 
write today sure. Three-sheet and two different one-sheet posters, beautiful 
heralds and still photos. We hold certificates of registration of our copyright of 
this film, dated February 28, WffJMUojSS pfiicswp 1912 > class J> No - 166,714 
and will prosecute all infring- /CSSSgST' XSaflsr ers or dupers to the fullest 
extent of the law. 



Columbus Ave. & 101st St. 
NEW YORK CI TY 



COLONIAL^ BUILDING 

Phone Riverside 4914 toJZ!£!g£ t ££ rr , I 




Real Photographs 

of 

Imp Players 

We have for disposal a few real photo- 
graphs (that is beautiful surface prints) 
of some of our Imp players. There is 
W. R. Daly represented on a 9x7 picture, 
and H. S. Mack also a 9x7. The number 
of these photographs is limited. They 
are as good as the celebrated theatrical 
photographer, White, of Broadway, can 
make them. We are selling them at 15 
cents each. Send your orders, and the 
money to cover cost, to the Imp Films 
Co., 102 West 101st Street, New York 
City. 



BINDING CASES 
for "THE IMPLET" 

In response to numerous requests we are prepared to supply 
Binding Cases for "The Implet" 

By prepaid mail, $1.00 each. Looks like a book. 

You can put in and take out single copies. 
Handy for keeping your Implets. " 
Send address and $1 bill to 

THE IMPLET, 102 W. 101st St., New York 



PLEASE OBLIGE THE IMP 

WITH THE FOLLOWING 

INFORMATION 



We want each reader of The 
Implet to tell us the names of the 
Independent Theatres in his city 
which exhibit first run, second 
run and third run Imps. 
Send us this information as quick- 
ly as possible. 

A postal will do with the names 
and addresses of the theatres. 



Just address The Imp Films Com- 
pany, 102 West 101st St., New 
York City, and write on the back 
of the card the name and ad- 
dress of the theatre, and say, as 
the case may be, 
First Run, 
Second Run or 
Third Run 

Tell us, in short where, when, 
and how Imp Pictures are shown. 
Mr. Exhibitor, please oblige the 
Imp in this matter so that the 
Imp may, in turn, help you. 



THE PERIL 

The Great Imp Military Picture for Decoration Day 

€J The Imp Films Company will release on Decoration Day a fine 
military drama, entitled "The Peril." The plot of this story is intensely 
strong, and it centers around the attempt of a foreign spy to secure 
papers relative to the disposition of the guns in a fort which is of great 
strategic value. The military and fort scenes in this picture are won- 
derfully realistic. 

f$ King Baggot is seen in the character of a captain, who meets with 
many surprising adventures in the execution of his duties, and in his 
courting of a pretty girl whose father is commandant of the fort. 



12 



"THE IMPLET" 




^••SSS** 



PAUL J. RAINEY'S 
AFRICAN HUNT 

(Copyright 1912) 



POPULAR 
PICTURES 




OF IMP 
STARS 



The 

Snap 

of the Year! 



Only 

50c. 

per SET 



THINK OF IT! 





THIS complete set of PROCESS PEBBLED PRINTS 
of Imp star* for the insignificant sum of 50c. It's the biggest 
bargain and the softest snap ever offered you. Buy one 
set for yourself and you'll quickly see how easy it will be 
lo sell other sets to your patrons who are enthusiastic 
over Imp actors and actresses. Tear off coupon, fill 
in the blanks, enclose with the proper sum of 
money to cover as many sets as you want 
at 50c. per set, write your name and 
address plainly and— mail at 
once to the 

IMP FILMS CO 

102 W. 101st ST. 

NEW YORK - N arnc 



Add 



re»3. 




BRICKBATS 
and BOUQUETS 



Actual Size of Each Photo 

5^2 x 8^2 in. 

Imp Films 
Go. 

102 W. 101st ST., lEWYORK.N.Y. 

Gentlemen : 

Enclosed find $ for 

which please send. sets of 

photos of Imp stars as described in the 
advertisement from which I cut this coupon. 
Yours truly, 



This is the title of a book which 
we are mailing free to any one 
who will take the trouble to 
write for it to The Imp Films 
Company, No. 102 West 101st 
Street, New York City. It is a 
book of about 60 Pages, and the 
contributors to it are Independ- 
ent exhibitors all over the 
United States and Canada. This 
is how we made the book: We 
sent out a circular to exhibitors, 
asking them if they were, or 
were not, in favor of Three 
Imps a Week. We also asked 
them to state their reasons on* 
way or another. 

The book is of general, as well as 
of particular value. We have 
printed the "Brickbats" as well 
as the "Bouquets." We have 
been fair in the interests of The 
Imp Company; we are fair in 
the interests of the general film 
business. Mr. Exhibitor and Mr. 
Exchange Man, let us send you 
a copy of "Brickbats and 
Bouquets." 




Pitt 
m 






Advice to the Exhibitor. 
"Early to bed. 
Early to rise, 
If you want to get rich, 
You must advertise." 



>*'< 




i"' r 'l .74 



i »v *v .',vT 
i v r . • jj 

-\ ?■# 

M 

y '.V? 



This was the colloquial slogan of one of the 
cleverest advertising men of the writer's ac- 
quaintance. He sold advertising space in many 
publications and was indirectly the means of 
helping many a business man to success by in- 
ducing him to advertise. 

American business men have the reputation 
of being the best and most lavish advertisers in 
the world. In this respect they transcend the 
business men of every other country. 

In passing, the Imp Films Company's adver- 
tising is recognized as the best of its kind. 

We want the exhibitor, to whom we are ad- 
dressing this article, to learn a lesson by what 
we are saying tohim. Last week's editorial was 
devoted to the subject of exhibitor's advertis- 
ing. We are writing week by week, a series 
of little reviews of our films suitable for hand- 
ing out to local newspapers; we are also 
writing a series of advertisements for the same 
purpose. 

In this number of "The Implet," we give ex- 
tracts from the bulletins of several exibitors that 
reach us week by week. We do this for the 
general good. For example, an exhibitor friend 
at Faribault, Minn., talks about his theatre in a 
particular way. We have no doubt our Faribault 
brother will be tickled to death if he finds an 
exhibitor, let us say, at Providence, R. I., imi- 
tating him. 

And besides the Faribault specimen there are 
other specimens given in this same number of 
"The Implet." 

We cannot too strongly impress upon each 
individual exhibitor who reads this article (and 
there are 10,000 of him) the supreme importance 
of good local advertising to him and his theatre. 
His success hinges upon the good quality of his 
advertising. At present the possibilities of this 
matter have only just been scratched. 

Week by week we get newspapers from all over 
the country carrying motion picture theatre ad- 
vertising; we get also theatre bulletins and 
heralds. 

And as we are pointing out, we, of "The Im- 
plet," are doing our best to inspire the exhibi- 
tor to hand out advertising matter of a good kind 
to his local paper. 



Yet with it all, we feel the exhibitor, possibly 
from want of help and encouragement, is not 
doing all that he might. 

The picture is handled in an apologetic and 
perfunctory manner. Far too many persons al- 
low themselves to feel that the picture is a pass- 
ing fad with the public, and so their press mat- 
ter has a perfunctory and apologetic appearance 
in the eyes of the public. 

Now, we want the exhibitor to get over this 
feeling. We want him "to go to it." 

We want him to feel that the picture as an 
entertainment factor is as big a staple as any 
other branch of amusement. We want, in fact, 
to gingerize him in his business. 

The time has gone by when the motion picture 
needs any apology or defense. It is here to stay; 
it is steadily improving in quality all the time, 
and it has so firmly gripped the hearts and minds 
of the people of the world that it is not humanly 
conceiveable that it can be deprived of its pride 
of place as the most universal form of entertain- 
ment in existence. 

Now, if you, Mr. Exhibitor, will absorb these 
ideas with regard to the stability of the picture, 
we feel that your advertising literature will, in 
future, carry a firmer, deeper, stamp of convic- 
tion than it has hitherto done. 

Even so this is one of the chief reasons why 
"The Implet" exists. It is published for you; it 
is written for you. 

It is not written for the trade ; it is not even 
written primarily for the "Imp Films Company;" 
it is certainly not written for any group of in- 
terests in the moving picture field. 

It is written and published for the help ; the 
information and the advantage of the exhibitor, 
which is you who are reading this article. So 
will you please, Mr. Exhibitor, quote all that you 
can from these pages about the "Imp" pictures; 
quote it in your local paper ; print and distribute 
it amongst your audiences ; make it public when- 
ever and wherever you can. 

By these means you will get people into your 
theatre to look at "Imp" pictures, and by the way, 
at other pictures as well, so that everybody in the 
business will be benefited. 

Finally do not be afraid to write to us and ask 
for individual suggestions about your advertising 
matter, either in herald form or newspaper 
form. We are always pleased to help in this 
matter either through the columns of the 
paper or by mail. 



Wet <#• 

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"THE IMPLET" 



Clje "Jmplet" 

The Moving Picture Newspaper 
Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 

Published at 102 W. 101st St., New York 

SUBSCRIPTION PRICE, $1.00 PER YEAR 
SINGLE COPY. 5 CENTS 

THE READER IN COUNCIL 

Mr. Henry Steckleker, Queen's 
Theatre 993 Third Ave., New York 
City sends us this letter: "Just merely 
a suggestion to print Mayor Gaynor's 
letter to the Board of Aldermen in 
praise of moving pictures in '"The 
Implet," and if you will send me some 
copies I will have them distributed to 
the audiences of this theatre." 

We have adopted friend Henry's 
suggestion as he may see. 

The Drury Theatre on 13th St., 
Germantown Ave., Tioga St., Phila- 
delphia, sends us a specimen of the 
herald literature they are issuing to 
their patrons. There is a cut of the 
Drury Theatre included. We know 
the Drury Theatre. It has a very 
handsome facade, and the group of 
people outside of the theatre are well- 
dressed, prosperous-looking moving 
picture patrons. 

We see that "A Millionaire for a 
Day" is featured on this herald. 

We are always glad to see moving 
picture theatre literature. It pleases 
us also to see reprinted in these her- 
alds the special write-ups of our films, 
which we print week by week in "The 
Implet." 

These write-ups are not only suit- 
able for heralds but for newspapers. 

"The Implet" thanks Brother Sam 
Hale, of the West End Theatre, Den- 
ver, Colo, (the West End's seating ca- 
pacity is 950, by the way) for a photo- 
graph of his house. By the entrance 
there is the welcome legend on a bill- 
board, "This is Imp night." We see a 
flag bearing the laudable inscription, 
"Independence for the people." 

We congratulate Brother Hale. 

The Coliseum Theatre, Market be- 
low 60th St., Philadelphia, sends us 
their recent herald. We perceive that 
our Thursday release, "All for Her," 
is featured on Saturday. The Colise- 
um has some heart-to-heart talks with 
its patrons. And they print this puz- 
zle: "If our cashier makes a mistake 
would the arc rectifier?" 

We must hand it to our excellent 
friends of "The Surprise Theatre," 
South Bend, Ind., for the weekly copy 
of their sixteen page bulletin. In this 
are printed stories of the Imp films, 
with pictures of Imp players, and quo- 
tations from "The Implet" and other 
articles. 

We think that "The Surprise" ex- 
ample, like those mentioned else- 
where, is worthy of imitation by other 
exhibitors. No doubt, "The Surprise" 
people would gladly mail a copy of 
their bulletin to others in the business. 

CASTS OF THE IMP PLAYS. 

"The Thirst for Gold." 

(Imp Drama Release, Monday, May 

27, 1912.) 

Written by H. Pollard. 

Produced by E. J. Le Saint. 

John Rhodes Harry Pollard 

Walter Rhodes Edward Lyons 

Mrs. Rhodes Louise Crolius 

Mr. Rhodes Ben Horning 

Messenger Eugene Kelly 

"The Peril." 

(Imp Drama Release, Thursday, May 

30, 1912.) 

Written by Dr. S. W. French, U.S.A. 

Produced by Otis A. Turner. 

Lieut. Pond, U.S. A King Baggot 

Col. Jones, U.S. A William Shay 

Hokoruma W. R. Daly 

Clara Jones Violet Horner 

"Up Against It." 

(Imp Comedy Release, Saturday, June 

1, 1912.) 

Written by George Elmore. 

Produced by Otis Turner and W. R. 

Daly. 

Amos Bentley King Baggot 

Howard Crampton W. R. Daly 

Frank Crampton Wm. E. Shay 

Louise Crampton. .. .Vivian Prescott 



EXHIBITORS' ADS. 

[We reproduce these specimen ads. for the general good.] 



AN EMPRESS "AD." 

[For imitation by, or an inspiration 
to, other exhibitors elsewhere.] 
A Little Talk About the Empress 
Theatre. 

"What's the reason everyone likes 
the shows at the Empress so well that 
they will stand in a crowd to see the 
pictures, when they might go to some 
place else and get a seat?" 

This is a question that has been 
asked over and over again. We some- 
times look at the immense crowds 
ourselves and ask the same question, 
but when we come to think of it, the 
answer is easy BECAUSE: 

We get the Best Pictures to be ob- 
tained, IRRESPECTIVE OF COST. 

We try to get on every change day 
a program of pictures that will please 
everybody, men, women and children, 
of all classes, and we usually suc- 
ceed. 

And then "correct effects are never 
accidental." So it's no accident that 
makes our pictures so clear; it's sim- 
ply that we have the best operator to 
be obtained, and have a curtain made 
by ourselves, which we think shows 
just as fine a picture and better pic- 
ture than the most expensive curtain 
made. 

Then, again, we have another charm 
(she is some charmer, too). We 
have one of the best pianists in the 
city, who knows how to play the pic- 
tures. 

This may sound to you like an es- 
say on the supremacy of the Empress 
to all other theatres on earth, but it 
isn't that, really. We talk a whole 
lot, but we try, always, to back our 
talk up with actual deeds. 

We have simply set a splendid 
standard and have maintained it. So 
this is the "excuse" for our patrons 
liking our show, and it isn't such a 
"worse" excuse, IS IT? 



Children and The Picture 



How the Lyric Theatre, St. John, N.B 
seeks to interest the children. 

The Lyric Theatre, St. John, N. B. issues 
a chatty little 8-page Bulletin every week. 
The following contest has been organized 
for the purpose of interesting the children of 
St. John's in the picture. Other exhibitors 
elsewhere, please copy. 



\A/QlltoH the Opinions and Criticisms of the 
lYdllluU Children regarding Moving Pictures 



For the Twenty-five (25) Best Let- 
ters in answer to the above, a pass, 
good for the month of June to Lyric 
and Unique Theatres will be given. 



THE CONTEST 

is open to all children under 15 years. 

WRITE US A LETTER TELLING US 

1 -What you think about Moving Pictures. 

2 What kind of pictures you like best. 
3— Give the titles of three of your favorites. 

(ones that you have seen) 



RULES OF THE CONTEST 



No one over 15 years of age may compete. 

Letters must be enclosed in envelopes, 
sealed and addressed to CONTEST, UNI- 
QUE THEATRE. 

All three questions must be answered. 

Spelling, grammar (according to age) and 
neatness will be considered in awarding the 
passes. 



'THE IMPLET" MAIL BOX. 



Miscellaneous. "Imp Booster" asks: 
Is Lucille Young still with you? Are 
F. J. Grandon and Ethel Grandon 
related? What company is Owen 
Moore in now? 

In Reply: No, Miss Young is not 
now a member of our company. We 
do not believe F. J. Grandon and 
Ethel Grandin are related, as you will 
note their names are spelled differ- 
ently. We cannot inform you with 
which company Mr. Moore is now 
connected. 



OBITUARY. 



Ignatz Oestreicher, an expert in 
photographic chemistry, died recently 
at the home of his daughter, 700 West 
l~8th street. Until recently Mr. Oest- 
reicher was engaged in organizing a 
plant in Rochester for the manufac- 
ture of moving picture films along 
new patent lines. 



We Invite Criticisms of "The Imp" 
Pictures. 



Whenever you see anything in an 
Imp picture calling for criticism or 
comment, sit down at once and write 
us what is on your mind. We invite 
your opinions on our pictures and will 
publish them. Let us know what you 
think. Say it with as few words as 
possible. What we would like to do 
every week is to devote a column of 
"The Implet" to publishing the opin- 
ions of Imp exhibitors on Imp pic- 
tures. There's a double reason for 
this. Your criticisms will help us to 
help you. That is the principal object 
of "The Implet." 



THE BREAKDOWN 



Imp Drama Release of Monday, June 3. 



The sanitaria (or sanitariums, as 
they are sometimes called) are not 
always peopled by the poor. The rich, 
like the poor, are always with us, and 
the rich, also like the poor, have their 
mental and physical troubles. The 
difference between the two classes is 
simply this — one can pay for the alle- 
viation of its troubles; the other can- 
not. That is all the difference be- 
tween riches and poverty. Still it is 
a vital difference. 

Every now and again a wealthy 
man, or woman, disappears for the 
time from the public ken. Madam 
perhaps goes abroad or visits friends 
by way of a change from the grinding 
world of society functions. She is 
played out and must recuperate, if she 
is to continue playing the game of 
society posturing. As to the man, 
sometimes it is given out that he has 
gone abroad, or is on a sporting trip, 
or is laid by at home. Very frequent- 
ly nothing is said about him; he just 
disappears for a few months. 

At this moment in the various san- 
itariums in the United States, which 
cater to wealthy patrons, you would 
find on analysis many of the men 



there had broken down in health 
through business worries and were 
undergoing cures under assumed 
names. It is not an uncommon thing 
for the railroad president, the bank 
president, the Wall street operator — 
any prominent man, in fact, upon 
whose shoulders the burden of suc- 
cess falls heavily — to go away incog., 
cut off all communication with his of- 
fice, telegraph messenger, letter car- 
rier, and be patched up again by the 
cure or treatment for the tremendous 
strain of modern commercial life. 

This is just exactly what Huntley 
Sharpe, president of the Mutual Con- 
structing Company, had to do at a 
great crisis that affected his company. 

His directors stopped his financial 
flights which were conceived in the 
best interests of the Company, so 
Huntley broke down and went away 
to Hot Springs. 

Yet, wonder of wonders, Huntley 
did not go away — that is to say, to all 
appearances he still remained at his 
post in Wall street, New York City. 

For if he had really gone away, if 
he had been suspected of being away, 



or known to be absent from his desk, 
disaster would have overtaken the 
company; the Mutual would have 
been forced into liquidation, and a 
great financial panic would have oc- 
curred. 

Huntley Sharpe got over his diffi- 
culty in a feasible manner. It is said 
that each one of us has a double — that 
is, somebody so like us that each of us 
is mistaken at times for somebody 
else. 

Huntley Sharpe's double appeared 
at a convenient moment and for a 
consideration impersonated Huntley 
from day to day on Wall street. 

How this theme is worked out is 
shown in the Imp drama release of 
"The Breakdown," of Monday, June 
3rd. 

It is a fine piece of dramatic work 
with King Baggot in the leading role 
as Huntley Sharpe, who recuperates 
at Hot Springs. 



BINDING CASES 
for "THE IMPLET" 



In 



response to numerous requests we are prepared to supply 

Binding Cases for "The Implet" 

By prepaid mail, $1.00 each. Looks like a book. 

You can put in and take out single copies. 

Handy for keeping your 'Implets." 
Send address and $1 bill to 

THE IMPLET, 102 W. 101st St., New York 



Real Photographs 

of 

Imp Players 

We have for disposal a few real photo- 
graphs (that is beautiful surface prints) 
of some of our Imp players. There is 
W. R. Daly represented on a 9x7 picture, 
and H. S. Mack also a 9x7. The number 
of these photographs is limited. They 
are as good as the celebrated theatrical 
photographer, White, of Broadway, can 
make them. We are selling them at 15 
cents each. Send your orders, and the 
money to cover cost, to the Imp Films 
Co., 102 West 101st Street, New York 
City. 



THE THIRST FOR GOLD 



A Drama of the Desert 

Copyright 1912 by Imp Films Company 




El 






Two men in search of gold, meet in the desert, and quarrel 

over the water supply on hand, which is very small. 

At the end of the quarrel they discover they 

are long separated brothers. 



IMP FILMS COMPANY 



>f HKEE IMPS 



102 West 101st Street, New York 



Carl Laemmle, Pre*. 



5-27-12 



'fBEEg IMPS 
'EVERY WEEIC 



1 



4 



"THE IMPLET" 



'THE PERIL" 

Great Imp Drama Release of May 30th 



How the World's Peace Is Menaced by Spies 



CAST OF CHARACTERS. 

Lieut. Pond, U.S. A King Baggot 

Col. Jones, U.S. A William Shay 

Hokoruma W. R. Daly 

Clara Jones Violet Horner 



I. 

"The Peril" is the aptly chosen 
title of the Imp drama release of May 
30th. It means, of course, the so- 
called Yellow Peril, from which not 
merely the United States, but other 
countries of the world, may more or 
less reasonably be looked upon as in 
danger. The Yellow Peril is the 
world's peril from the Caucasian point 
of view. That is to say, if the four 
hundred millions of Chinese and 
eighty millions or so of Japanese 
(which is roughly about one-third of 
the population of the world) arise in 
their might it will be a poor lookout 
for the rest of the world, because the 
Mongolian races have, it is admitted, 
all the potentianity of becoming clever 
and aggressive, while the Caucasian 
races — that is the white people — are 
suspected of becoming effete by too 
much civilization. The blacks do not 
count in this connection. 

The world's contest of the future, 
therefore, in the opinion of students 
of the world's politics, will be between 
the yellow races on the one hand and 
the white races on the other. 
II. 

So that when newspaper writers, 
magazine authors and others refer to 
the Yellow Peril they have in mind 
something not quite beyond the 
sphere of probability. In other words, 
there is a real chance in the future 
of a fight between Japan and the 
United States. 

No one wants it, not even the 
Japanese. But as there are too many 
Japs on their own ground, they are in- 
clined to spill over onto "Uncle 
Sam's" potato patch. And as "Uncle 
Sam," although loving his fellowman, 
does not want his fellowman to be 
too near him to be unpleasasnt, there 
are all the germs of a pretty little 
squabble, maybe ending in a world's 
war, out of this race antipathy. 

Everybody knows that California is 
troubled with this matter; that the 
trouble does not diminish with time, 
and that, consequently, the Govern- 
ment of this country constantly has 
the "peril" under observation. 

Wars are not made by govern- 
ments. Governments exist chiefly to 
prevent war. It is the people who 
make wars. The American people 
made war on Spain. The Japanese 
people made war on Russia and China. 
The Boers made war on the Eng- 
lish people. The French made war on 
the Germans in 1871. 

So you will see there is a chance 
of the American people making war 
on the Japanese, or vice versa, so 
long as the smouldering ember of the 
"Yellow Peril" is there to throw out 
heat between the two people. 

III. 
It is around such a theme as this 
that the Imp drama, "The Peril," is 
woven. There is something more than 
this theme in the picture, of course. 
You have admirable scenes of fort 
life; you have a love interest between 
the gallant young lieutenant, played 
by King Baggot, and a pretty girl, 
played by Violet Horner. The fort 
scenes were actually made in a United 
States fort. This is not stage scenery. 
It is the real thing. Then you have 



United States troops in an early part 
of the picture. Everything is done 
to give the play verisimilitude. 

You will note how wonderfully well 
Mr. Baggot, Mr. Shay and the other 
Imp actors comport themselves as 
military men. They look military, 
and as if to the manner born. Then 
there is the inimitable William Rob- 
ert Daly in the character of the Japa- 
nese spy. The Japanese spy is a but- 
ler in the family of the commandant 
of the fort. 

The lieutenant, in the person of 
King Baggot, discovers the butler pur- 
loining valuable papers regarding the 
fort, which are kept in a secret 
drawer. There is a terrible struggle. 
The Jap is defeated, and the young 
lieutenant, who is in disgrace with his 
commandant, rehabilitates himself by 
this act and so wins the hand, as 
well as the heart of the girl, with 
whom he was in love. Thus through- 
out this play, "The Peril," there is a 
strong sympathetic interest. 

IV. 

In this play we have a human in- 
terest and a political interest equally 
balanced. The human interest is true 
to nature and to life. So is the polit- 
ical interest. It is not for us to say 
that many Japanese spies are work- 
ing as butlers in the homes of Amer- 
ican commandants. We do not know. 
But it is reasonable to suppose such 
a thing likely. Every nation to-day 
has its secret service agents in for- 
eign countries. The people of the 
United States do not realize the 
lengths to which this sort of thing is 
carried in the old world. Why? Be- 
cause the United Sates has no enemy. 
It has no enemy in Europe. It is 
not likely to be invaded from Europe 
or to invade any country there. The 
country may have tariff and other ar- 
guments with Canada, but that is all. 
Canada and America are never h'kely 
to come to blows. 

And if the Japs would keep off the 
Pacific slope there would not be any 
quarrel or any likelihood of a quarrel 
with Japan. But the Japanese do not 
keep off the Pacific Coast, any more 
than the Americans keep out of Japan. 
It is just this little fact which gives 
"Uncle Sam" and the people of the 
United States generally a slight, very 
slight, insight into the importance of 
the sp)' in European international 
politics. 

V. 

For example, at the present time 
there is a whole lot of talk of the 
likelihood of a war between Great 
Britain and Germany. The Germans 
are building big war ships; the Eng- 
lish are building bigger ones. Why? 
Because both countries have, more or 
less, made up their minds to a sea 
fight one of these days. 

Each country, therefore, has its own 
spies finding out all the time what the 
other is doing. 

It is notorious that at the present 
moment German spies abound in all 
parts of the British Isles, spying out 
the forts, defenses and trying to get 
secret information as to ships, tor- 
pedoes and other forms of marine de- 
fence. 

To balance matters it is undoubt- 
edly the case that in Germany there 
are innumerable British spies finding 
out all the secrets that can be found 
out with regard to German ships, 
German army disposition and the 
like. 



Then France and Germany are none 
too friendly, and these two countries 
exchange spies. 

In fact, the spy system is as well 
recognized in Continental Europe as 
international commercial relations 
are recognized in the peaceful terri- 
tories of "Uncle Sam." 
VI. 

European naval and military spying, 
of course, is something more than the 
abstraction of private documents from 
a military commandant's home. It 
means a whole lot more. There is 
not the slightest doubt that in each 
European chancellery there are pho- 
tographs of every other country's 
forts and guns — in fact, all the data 
of naval and military defenses in pho- 
tographic, arithmetical and tabular 
form. 

This information is obtained, of 
course, by elaborate spying. 

Suppose you are a European coun- 
try and want to know what the other 
fellow is doing in his forts. 

It is not even necessary for you to 
send a man to the exact spot to do 
the job. 

You can send him up in a balloon, 
arm him with a tele-photographic ap- 
paratus — he can take clear photo- 
graphs at a distance of half a mile. 

Or he can buy his information on 
the spot, just as a merchant can buy 
goods. 

Spying, therefore, becomes in the 
last resort a pure matter of business. 

There is nothing necessarily ro- 
mantic or hazardous about it. 

The spy may be a beautiful lady of 
fashion, just as conceivably as he may 
be a butler in a private family. 

Nothing, therefore, need be hidden 
from a foreign government, provided 
it has the price to pay for it. 
VII. 

Of course, the spy, to be of real 
value, should be loyal to his employer. 
Now anyone may learn from history 
that national spies are not always 
loyal. A man or a woman may accept 
pay as a spy for one government and 
betray that government to the other 
upon whom he or she is paid to spy. 
In the idiom of the year 1912 this is 
known as "double crossing." 

Even your aristocratic Ambassador 
is nothing less than a political spy. 
But he plays the game according to 
the rules. From the European stand- 
point an Ambassador is the man who 
goes abroad to lie for the benefit of 
his country at home. 

Honest James Bryce, at Washing- 
ton, does not lie for his employers, 
the British Government. He has no 
need to, because of the extreme un- 
likelihood of conflict occurring be- 
tween these two branches of the 
Anglo-Saxon races. 

Still Mr. Bryce keeps his employ- 
ers in London informed as to the 
exact state of things in this country. 

So that when there is a momentary 
excitement among the people of the 
United States Mr. Bryce is enabled 
to let his people at home know the 
real importance to be attached to such 
things. 

On the other hand, if there was 

anything really serious happening this 

side of the Atlantic it would be his 

duty to let his people at home know. 

VIII. 

This is not a criticism or a story; 
it is an article of an explanatory na- 
ture, pointing out that the Imp drama, 
"The Peril," is based upon actuality. 
It has a foundation of probable fact. 



It is not purely imaginary. I hope 
the reader won't think that every 
Japanese he meets is a spy. All Japa- 
nese people whom I have met are 
charming people of culture. But they 
are Japanese, and always will be. They 
will never assimilate with the Cau- 
casian, or white races. We hear 
sometimes of mixed marriages — mar- 
riages between whites and Japanese 
and Chinese — these things, however, 
are abnormalities. 

They are as abnormal as marriages 
between blacks and whites; they are 
flying in the face of nature. 

Some time ago a film was released 
showing an American-Japanese con- 
flict. This went too far, and the pic- 
ture was suppressed because presum- 
ably Japanese susceptibilities would 
be wounded. 

In London a little while ago "The 
Mikado," a Japanese opera, was voted 
inadmissible. A quarter of a cen- 
tury ago it was received with great 
favor. 

We have advanced since then. 

Everybody hopes there will never 
be trouble between the United States 
and Japan. 

It is just as well for "Uncle Sam" 
to keep an eye on his Pacific seaboard, 
and perhaps it is just as well the 
lesson of danger should be kept in 
sight by such films as "The Peril." 

Above all and aside of its main mo- 
tive, "The Peril" is a fine play, well 
written, well produced and well acted. 

The fight between the American 
lieutenant and the butler-spy is some 
fight. It would do the hearts of J. 
Johnson and J. J. Jeffries good to see 
how Mr. Baggot and Mr. Daly can 
fight. 

Now, Mr. Exhibitor, what I advise 
you to do is to reprint this story 
about "The Peril" in your literature 
and in your local papers. 

It will tell your audience a great 
deal about the subject that will in- 
terest them. 



IMP ADS. 

THE 

THIRST FOR 

GOLD 

A strong and roman- 
tic Imp drama of the 
hunt for gold by two 
men who in their dire 
distress discover they 
are brothers. 



UP AGAINST 
IT 

An Imp comedy of 
screams and misad- 
ventures ending in a 
happy marriage. 



THE PERIL 

A Strong Millitary Play 

Copyright 1912 by Imp Films Company 



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A young lieutenant detects a Japanese spy in the act of 

abstracting secret military plans. By defeating the spy, 

the lieutenant gains the hand of the girl he loves. 

IMP FILMS COMPANY 



5-30-12 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



"THE IMPLET 



15 



CRITICISMS OF THE IMP FILMS 



THE THIRST FOR GOLD 



Imp Drama Releas 
CAST OF CHARACTERS. 

John Rhodes Harry Pollard 

Walter Rhodes Edward Lyons 

Mrs. Rhodes Louise Crolius 

Mr. Rhodes...' Ben Horning 

Messenger Eugene Kelley 



The story of this picture shows that 
accidents and coincidents still play 
great parts in the affairs of life. We 
may express surprise at these hap- 
penings, but they happen neverthe- 
less. Life is not lived by any one of 
us according to a precise formula. We 
never know what is going to happen. 
As Beaconsfield in one of his books 
says, "Nothing is certain but the un- 
certain." 

Two men, each independently of the 
other, set out to slake the gold thirst. 
We all suffer from the gold thirst, 
more or less. We either want gold, or 
need gold. The greater the need the 
greater the risks run in gratifying it. 

So it fell that these two men met by 
chance in the desert, where water was 
scarce. Privation stared both of them 
in the face, yet both were rich — one 
had a supply of water and no gold, 
the other had plenty of gold and no 
water. 



e of May 27, 1912. 

The man with the gold attempted to 
strike a bargain with the man who 
b?.d the water. He failed, for the 
time being at any rate. 

Those who have endured it say 
there is no torture known to man- 
kind greater than excessive thirst. Ex- 
cessive hunger, as we all know, pro- 
daces inanition of the body, and a 
corresponding exaltation of the mind, 
but thirst — acute thirst, without the 
means of slaking it, is said to be in- 
describably torturous. What must 
death from thirst be? Let us hope 
no one will ever suffer that way. 

In sheer desperation the man with 
the gold offered all he had for the 
other man's "cup of cold water"; the 
latter refused. The other, not to be 
denied, pleaded for the sake of his 
mother. 

The denouement of this terrible 
drama of the desert was that the men 
discovered they were brothers. 

Such things have happened in real 
life, and the story has been seized on 
by the Imp Company's director and 
acting forces to enforce again the old 
lesson that truth is stranger than fic- 
tion. 



UP AGAINST IT 

Imp Comedy Release of June 1, 1912. 



CAST OF CHARACTERS. 

Amos Bently King Baggot 

Howard Crampton W. R. Daly 

Frank Crampton Wm. E. Shay 

Louise Crampton Vivian Prescott 



My! but Amos Bently WAS up 
against it. "It" in this case was sev- 
eral things. He was broke, as clean 
as a whistle, and in that dilemma had 
to see his furniture annexed by his 
creditors. Then he was in love with 
a pretty girl. How was he to make 
up to a girl in his impecunious condi 
tion? What torture! Then, when 
the girl's brother called and begged 
him to go spend the evening with 
them and take advantage of a job 
which his father offered Amos, poor 
Amos could have swooned. He had 
not any money in his pockets, and his 
clothes were approaching the thread- 
bare stage. But he faced the music, 
and in facing the music he plunged 
into his friend's home, only to dis- 
cover, when he was well set for the 
evening's entertainment, that there 
was a rent in his pants which made 
him look and feel very cheap. 

There were some pretty girls in the 
house that night, and poor Amos 
was hard put to it to conceal his dis- 
tress. However, at last the girl's 



brother flung him into a room where 
there were needles and thread. Be- 
fore Amos, however, could come to 
the work of repairing the rent the 
girl's father discovered the intruder. 
Not knowing who he was, the old boy 
pointed a pistol at Amos' head, but 
before Amos could be shot the girl 
and her brother, who had been watch- 
ing things through a keyhole, broke 
in and explained matters. 

The father was all apologies and 
smiles. Amos was left alone with the 
girl; she provided him with a con- 
venient dressing gown and set about 
the job of doing his mending for him. 
And so they resumed their courtship 
in these unusual circumstances with a 
prospect of Amos getting a job and a 
bride at the same time. 

This is the bare story of a com- 
edy which is all electric shocks of 
laughter. Miss Vivian Prescott shows 
herself to be a clever comedy actress; 
Mr. Shay is the polished humorist, 
and as for King Baggot, his legion 
of admirers will surely welcome him 
in the mercurial role of the troubled 
Amos. Baggot certainly is funny in 
this comedy, and Baggot's fun, like 
that of Mr. Shay's fun, is of the 
thoroughly refined, gentlemanly or- 
der. 



A WOMAN DEFENDS MOVING 
PICTURES FOR CHILDREN 



The "New York Tribune" recently 
printed an interview with Mrs. H. C. 
Arthur, the mother of ten children, 
who gave out the following spirited 
defense of the pictures: 

"You wanted to know what I think 
of moving pictures, didn't you? Well, 
I think they are fine things for the 
children. We hear a lot about the de- 
cline of the human race, but it isn't de- 
clining; it's going forward. We have 
six hundred thousand children of 
school age in this city, and only 1 
per cent, of those are abnormal. Peo- 
ple talk a lot about the abnormal six 
thousand, and we get reports from or- 
ganizations dealing with crime and 
through the public press. We get 
statistics of defective, delinquent and 
dependent children, and the general 
impression is wrong. 

"In hearing of so many unfortu- 
nates we lose sight of the proportion, 
which really is not alarming. The 
human race isn't going back with only 
1 per cent, abnormal. What we hear 
about the harmful effect of moving 
pictures on children applies to this 
small percentage of defectives, but 
not to the normal child. For instance, 
when you read the story of 'Cinder- 
ella,' did you want to copy Cinderella 
or the wicked stepsisters? When you 
read 'Jack the Giant Killer,' did it 
fill you with the desire to go out and 
kill somebody right away? When you 
read 'Bluebeard,' do you think, if you 
had been a boy, you would have had 
the ambition to marry a lot of women 
and then kill them as he did? 

"The normal child's imagination is 
more easily stirred by good impulses 
than by bad ones. If the story in 
any way teaches a lesson of retribu- 
tive justice, the child's intellect grasps 
that idea and is benefited, even if he 
does witness a picture of crime. I 
believe that the boy who is incited 
by such things to any kind of crime 
is invariably the boy who is a victi. 
of the effects of premature smoking. 
Tobacco can dwarf the moral sense 
and intellectual power of a boy under 
seventeen." 

Mrs. Arthur thus describes the evil 
features of the picture shows at pres- 
ent: 

"First the law forbids the child to 
go alone, so he devises ways of defy- 
ing the law. This is bad. The small 
child who has a nickel hangs around 
at a short distance from the entrance 



and accosts strangers with the appeal, 
'Please, lady,' or, "Please, mister, take 
me to the show; here's my nickel.' 
The man or woman so accosted 
usually assents and the child gets in, 
but is without any guardian alter he 
gets in. He has no protector in case 
of fire panic. He has no one to see 
that he ge'ts home safe though he may 
be on the streets as late as 10 o'clock 
at night. Also there is always the 
possibility that the stranger appealed 
to may be a vicious character who 
would take advantage of the child's 
confidence. 

"If there was a law which permitted 
children to go to these shows in the 
afternoon it would have the hearty 
co-operation of the managers. I have 
talked with fifty or more of these men 
and they would willingly pay for a 
matron appointed from a civil service 
list. The children would be on the 
street at a normal time. It would be 
known that these shows were catering 
to the children's trade, and the Board 
of Licenses would make proper in- 
spections." 

Here Mrs. Arthur related a touch- 
ing incident involving an experience 
of her own child. She said: 

"My little seven-year-old girl came 
home one evening from the picture 
show and sat on the floor very quietly 
for a while. I said: 'What's the mat- 
ter?' 'Oh, mother,' she replied, T saw 
a very sad picture. There was a little 
girl with a drunken father. Hei 
mother was awful good to her, but 
she died, and her father got drunk, 
and then the little girl had to starve 
till a kind lady happened to find her. 
I'm going to be so good to you and 
my papa what don't get drunk, 'cause 
maybe you and papa might die and 
maybe no good lady would find me, 
and then I'd have to starve.' 

"The impression on that child's 
mind — well, was it good or was it 
bad? What do you think? The pic- 
ture she saw depicted a so-called story 
of crime, and yet it taught her filial 
affection and the value of a good, 
clean living father." 



THE IMPLET LETTER BOX 



ADDS HIS PRAISE. 

May 9, 1912. 
To the Editor. 

Sir: I read with a great deal of in- 
terest your "Brickbats and Bouquets" 
and feel like adding my praise to the 
already long list of admirers of Imp 
releases. I have been operating a mo- 
tion picture machine for five years, 
and will say that any r operator who 
likes films like Imps. There is a rare 
clearness about them that makes it a 
pleasure to operate a machine while 
they are running through. I will also 
say .that 1 have less trouble with 
breakage on Imp films than any other 
make. Keep up the good work. I 
don't see where you can improve 
them, because I feel they are nearer 
the apex of what motion pictures 
should be than any other make. 

Wishing you well, 1 run, 
Very truly yours, 

NOLTE Q. AMENT. 
Stewart Opera House, 

Elizabethtown, Ky. 



UP TO THE OPERATOR. 

May 1, 1912. 
To the Editor. 

Sir: Noting your article in the last 
issue of "The Implet," entitled, "It 
Is Up to the Operator," the follow- 
ing may be of interest to you. I try 
my best to run the films at the right 
speed and do not lay it on to the 
manufacturers if 1 run them too fast, 
but what is an operator to do when 
the manager sticks his head up into 
the operating room and says: "Shove 
her through a little faster, there is a 
lot waiting outside," which often hap- 
pens when we have an IMP- night. 
What is an operator to do? Either 
obey instructions, or look for another 
job, where the same difficulties may 
be encountered. After reading the 
above I hope you will absolve some 
operators at least for blame in such 
matters. Yours, etc., 

IDAHO. 

[We suppress our correspondent's 
name by request. If "The Implet" 
obtains conclusive evidence that Imp 
pictures are unjustly treated by man- 
agers we will take steps to prevent 
the abuse. — Editor.] 



THE FINEST ON THE MARKET. 

May 3, 1912. 
To the Editor. 

Sir: I am a great lover of your pho- 
toplays and think they are the finest 
on the market to-day. Your company 
of actors are all stars, and I think 
they are the best in the business. 
Very truly yours, 

FRED LUIBRAXD. 
215 South Chilson Avenue, 
Station A, Bay City, Mich. 



SURE TO DRAW. 

May G, 1912. 
To the Editor. 

Sir: • "The Implet" is our favorite 
paper. An Imp banner with King 
Baggot's picture is sure to draw. 
-, Truly, 

ED. JACKSON. 
Electric Theatre, ■ 
Wolcott, Ind.' 



Lyric Theatre, Marshalltown, la., 
writes: We are strong for the "Imp" 
pictures; also "The Implet." 



FROM IMP READERS. 

May 10, 1912. 
To the Editor. 

Sir: Am getting two, sometimes 
three, Imps a week. Ran your "Call 
of the Drum" on the third. Give us 
more of that kind; it's a line, clean 
drama. We don't get enough of them. 

A. N. STEBBINS. 
17 Howard Place, 

Springfield, Mass. 



May 9, 1912. 
To the Editor: 

Sir: Good comedies and high-class 
drama are what my patrons like. 
Truly, 
A. H. CAMPBELL. 
Gem Theatre, 
Salem, Va. 



May 11, 1912. 
To the Editor. 

Sir: Long live the "Imps." 
Yours very truly, 

E. T. COOPKR. 
Cozy Theatre, 
Pendelton, Ore. 



UP AGAINST IT 

A Mirthful Comedy of Torn Pants 



Copyright 1912 by Imp Films Company 




A tear in his pants causes a young man, courting a pretty girl, great 

trouble. While attempting to repair the tear, he is suspected of 

being a burglar by the girl's father. When all is explained, 

the girl mends the tear and wins a lover. 



6-1-12 



On the same reel: 



THE ART OF MAKING SILVER PLATE 
IMP FILMS COMPANY 



T^jer week* 



102 West 101 at Street, New York 



Carl Laemmle, Pres. 



'EVERY WEEK* 



"THE IMPLET" 



THE STORIES OF THE IMP FILMS 



"THE RETURN OF CAPTAIN 

JOHN." 
Thursday Imp Release, June 6, 1912. 

Approx. Length 1,000 Feet. 
Copyrighted 1912 by Imp Films Co. 

When Captain Alvin Strong went 
to rejoin his ship, he parted from his 
sweetheart, Alice, with a promise to 
marry her at the termination of the 
voyage. He left a locket in her pos- 
session as a souvenir. The ship, how- 
ever, was wrecked with all on board 
save Captain Strong, who was washed 
ashore on a distant part of the coast 
in an unconscious condition. 

When he was restored to animation 
by the kindly fishermen of the village, 
lie had forgotten who he was. In 
other words, the calamity of the ship- 
wreck had deprived him of his mem- 
i >ry. 

After he regained his physical 
health, he remained in the fishing vil- 
lage and secured a job amongst the 
fishermen. 

Meanwhile, his sweetheart, at home, 
had not given up hope of his return 
and daily frequented the shore in ex- 
pectation of seeing his ship return. 

As Alvin Strong progressed in his 
new work, he also progressed in the 
affections of the daughter of his bene- 
factor, the old fisherman. In course 
of time he married the girl, and a 
baby was born to them. Still, he had 
no recollection of the past beyond the 
day when he was thrown upon the 
shore and was restored to life. Every- 
thing in his mind before this was a 
blank. 

One day in company with several 
of his fellow fishermen, he had to take 
a trip by water to the village which 
he had left two years before as Cap- 
tain Strong. Alice recognized him, 
so did her mother and many of the 
villagers, but he failed to recognize 
them. There was a scene of anguish 
between the girl and him, and she at 
last brought about his recognition of 
her by showing him the locket that 
he had given her two years before. In- 
stantly reason returned to him and he 
realized the position that he stood in. 
He had pledged himself to this girl, 
but he had married another and there 
was a child. Duty triumphed, how- 
ever, and he returned to his wife and 
child, leaving Alice in despair and 
disappointment. 

"THE BREAK DOWN." 
Monday Imp Release June 3, 1912. 

Approx. Length 1,000 Feet. 
Copyrighted 1912 by Imp Films Co. 

Disguises and impersonations are 
commoner in real life than most peo- 
ple suppose. Now and again a crisis 
in the big world of commerce, finance 
or politics arises in which it is 
essential that a man should have a 
double so near himself in resemblance 
that a deception can be practiced. 

The officers and stockholders of 
The Mutual Construction Company 
were holding a serious session. Hunt- 
ley Sharpe, the president, announced 
that a half million dollars must be 
raised forthwith in order that certain 
unfinished contracts in hand could be 
completed, then matters of the com- 
pany would proceed smoothly. 

But a minority of the stockholders 
would not trust the president. They 
demanded that a receiver for the 
company be appointed. This demand 
so affected Mr. Sharpe that he suf- 



fered a nervous breakdown, fearing 
the collapse of the company. 

His physicians decided that if he 
would regain his health he must go 
away instantly. This brought about 
unexpected results. The stockhold- 
ers realized that Sharpe's absence 
from the city would bring about the 
very thing they desired to avert, viz.: 
the downfall of the company because 
public confidence in it would be weak- 
ened. 

In this difficulty a bright inspiration 
occurred to the company's secretary. 
He met a man exactly the double of 
Mr. Sharpe. Swearing all to secrecy 
and pledging Sharpe's double like- 
wise, the man was induced to take the 
place of Mr. Sharpe in the office day 
by day. 

Meanwhile, the real Mr. Sharpe 
went to Hot Springs; recovered his 
health after a short course of treat- 
ment, and while there meeting several 
financial kings was so enabled to raise 
the necessary money to complete the 
contracts and assure the continued 
prosperity of the Mutual Construction 
Company. 



"A CASE OF DYNAMITE." 
Saturday Imp Release, June 8, 1912. 

Approx. Length 600 Feet. 
Copyrighted 1912 by Imp Films Co. 

Jonathan Jay, while waiting on a 
customer in his little country store, 
catches Cy, the village bad boy, steal- 
ing apples. He punishes him with a 
whipping, and Cy plans revenge. 

The opportunity comes when Jon- 
athan gets a telegram calling him to 
the city to close up a business deal. 
While he is buying his ticket Cy 
paints the word "Dynamite" on his 
grip, and as the train pulls in, Jon- 
athan hurriedly picks up the case,_ and 
rushes for his car, without noticing 
the awful word thereon. 

On his arrival in the city he goes to 
a jewelry store, where the clerk see- 
ing the name on the grip, offers him 
practically everything in the store. 
Jay takes all he can carry and starts 
for the bank. The jewelry clerk 
rushes for a policeman and they give 
chase to the unsuspecting country- 
man, who goes into the bank to draw 
out some money. Here he meets with 
the same experience, as the cashier 
also fears an explosion. Jay is now 
well loaded down with money and 
jewelry — but is soon tracked by the 
cashier and the clerk and the police- 
man. After many amusing experien- 
ces he is captured and taken to jail, 
where everything is satisfactorily 
explained; he is released and starts 
happily for his country home. 



"FUN IN A U. S. MILITARY 

CAMP." 
Saturday Imp Release, June 8, 1912. 

Approx. Length 400 Feet. 
Copyrighted 1912 by Imp Films Co. 

Life of the soldier in camp is free 
from many restrictions that are im- 
posed upon him in time of warfare, or 
when on the march. 

This film shows soldiers at play in 
I heir camp. Various kinds of sport, 
such as boxing and other athletic 
exercises are indulged in. Then there 
are less scientific kinds of entertain- 
ment such as throwing men tip and 
down in a blanket; shaving contests; 
foot races, etc. 

Interest in the army is so general 



that motion picture theatre goers will 
surely be pleased and interested to 
see this intimate aspect of military 
life. 

"UP AGAINST IT." 



Saturday Imp Release, June 1, 1912. 

Approximate Length, 600 Feet. 
Copyrighted, 1912, by Imp Films Co. 

Amos Bently was up against it in 
more senses than one. Times were 
so hard with him that he had to part 
with the furniture of his little apart- 
ment in order to pay his debts. How- 
ever, things were inclined to take a 
better turn for him. 

He was invited to be a guest of 
some friends of his. And between 
him and the daughter of the family 
some sort of heart interest was sup- 
posed to exist. Disinclined to accept 
the invitation at first, he yielded to the 
persuasions of his friends, the brother 
of the girl, and made his way to the 
host's house. Unfortunately his nether 
garment gave way in a somewhat con- 
spicuous place, and in attempting to 
conceal the tear while the evening 
party was in progress, poor Amos suf- 
fered a great deal of torture. 

Finally he was shown into the room 
of his probable fiancee. And while in 
the act of searching for a needle and 
thread was discovered by her father, 
who had not yet made the acquaint- 
ance of Amos. 

Poor Amos stood in imminent dan- 
ger from an ugly looking revolver 
which Mr. Crampton pointed at him. 
However, his peril was discovered in 
time by the girl and her brother, and 
the lady lending him a convenient 
dressing gown proceeded to help him 
out of his sartorial difficulty, and at 
the same time intimated to him that 
she would not be disinclined to darn 
his socks for an indefinite period. So 
the young couple were made happy. 

This is a whirlwind comedy of 
laughter and fun; rapidly played by 
King Baggot as Amos Bently, Vivian 
Prescott as Louise Crampton, W. E. 
Shay as her brother, Frank, and W. R. 
Daly as the father. 



"THE ART OF SILVER-PLATE 

MAKING." 
Saturday Imp Release, June 1, 1912. 

Approximate Length, 400 Feet. 
Copyrighted, 1912, by Imp Films Co. 

The art of silver-plate making as il- 
lustrated in this film is the result of 
a special concession given to the Imp 
Films Company by one of the most 
eminent linns in the world, Sheffield 
Plate Co., of New York City. We see 
the fashioning of the metal into vari- 
ous articles for table and decorative 
uses, and the mechanical appliances of 
a first-class silver-plate making fac- 
tory in actual operation. 

The photographic difficulties of the 
dimly illuminated interiors have been 
well overcome, and the result is that 
the film presents an excellent series 
of views of the actual operations of 
the silver-plate making industry. 
From the rough sheet metal to the 
finished and highly engraved dish or 
salver, the illustration takes an inter- 
esting course in this picture. 

"THE THIRST FOR GOLD." 

Monday. Imp Release, May 27, 1912. 

Approximate Length, 1,000 Feet. 

(Copyrighted, 1912, by Imp Films Company.) 

John Brown leaves his home in the East 
to seek his fortune in the gold mines of the 
Far West. For fifteen years he struggles 
against fate — the riches he has sought so long 



THE DEATH SHIP 



or, "THE WRECK OF T [E AURORA" 

THE FILM OF A THOUSAND THRILLS! 



STATE-RIGHTS, 15c. a Foot 
NO EXTRA CHARGES 

Secure valuable, exclusive State-rights before it is too late. Wire, phone or 
write today sure. Three-sheet and two different one-sheet posters, beautiful 
heralds and still photos. We hold certificates of registration of our copyright of 
this film, dated February 28, WaMUj^ RTf^rp 1912, Class J, No. 166,714 
and will prosecute all infring- ^^^^\ \-^0ffi ers or dupers to the fullest 
extent of the law. 



COLONIAL* BUILDING ' 

Phone Riverside 4914 *„&£if£Ei££g? lw NEW YORK CITY 



and arduously do not come to him. After 
this, his last, desperate effort, he had decided 
that if still unsuccessful he would return to his 
eastern home. He fails to find the precious 
metal, and his provisions being out and his 
supply of water almost gone, he breaks camp 
and starts across the desert to the nearest 
settlement. 

He loses his way, and for several days wan- 
ders aimlessly. In the distance he sees a 
figure approaching. When they meet, he dis- 
covers it is a young man, a prospector like 
himself — unkempt and disheveled — without pack 
or water bottle; also that he is delirious, pre- 
sumably from thirst. He seizes John's water 
bottle, and there is a terrific struggle. He is 
finally overpowered. The stranger offers nug- 
gets from a rich strike he has just made for 
a drink of water. John refuses, for there is 
only a few drops of the liquid remaining. 
The young man pleads for his mother's sake, 
and John is again about to refuse, when he 
sees a vision of his own mother, as he last 
saw her fifteen years ago, and he tenders his 
bottle. Together they start out on their long 
journey through the desert. 

They are suffering greatly and are almost 
exhausted when, far in the distance, John sees 
a railroad train. Knowing there must be 
water in that direction they strain every ef- 
fort to reach the distant spot. The stranger 
is exhausted, and John almost so from carry- 
ing him. At last the goal is reached — here 
is a water tank — John pulls the rope, releas- 
ing the water, and both men fall into it. 

The younger man, thinking he will die, gives 
John a paper, showing the location of the mine 
which he was crossing the desert to have 
filed, and offers it to him if he will promise 
to take care of his mother, a photograph of 
whom he also shows to John. In this pic- 
tured face, to his intense amazement, he rec- 
ognizes his own mother. And the young pros- 
pector is his own brother, Walter, whom he 
left at home a small boy. The shock of find- 
ing a brother revives Walter, and they then 
make their way to town and file the claim. 
Then home to mother and luxury. 

The story closes with the two brothers 
being warmly welcomed by the mother in 
the East. 

"THE PERIL." 

Thursday. Imp Release, May 30, 1912. 

Approximate Length, 1,000 Feet. 

(Copyrighted. 1912, by Imp Films Company.) 

The peril that threatens in a greater or less 
degree the entire civilized world is the key- 
note of our current picture. 

Hokoruma, a Japanese soldier, is sent to 
San Francisco to obtain, at all hazards, a 
plan of the new harbor fortifications, about 
to be erected. He registers at a Japanese 
employment bureau, and through this means 
secures a position of butler in the home of 
the commanding general, Colonel Jones. This 
gives him the opportunity of learning and 
seeing much that is necessary for him to know 
in accomplishing his end. 

The colonel's daughter, Clara, is engaged 
to Lieutenant Pond, and the marriage is dated 
for the near future. At the Officers' Club 
Lieutenant Pond is guiltv of an act unbecom- 
ing to a gentleman, and the colonel, who is 
severe but just, offers him the choice of two 
alternatives — court-martial or resignation. The 
lieutenant i= overwhelmed with the threatened 
disgrace. But he thinks he sees a means of 
escape— he will persuade his fiancee to elope 
with him — the colonel would never carry out 
the proceedings against his son-in-law. 

He enters Clara's home secretly, and while 
waiting in a dark room, while she is pre- 
paring to join him, a man stealthily creeps in 
and endeavors to make away with some im- 
portant panel's which are kept In a secret 
drawer. Recovering from the surprise the 
lieutenant springs on the intruder, and there 
is a terrific struggle, at the height of which 
Clara enters the room. She is horrified to 
see her lover in the clutches of a supposed 
burclar. and immediately arouses the house- 
hold. Her parents appear, and the spy suc- 
cumbs to the vigorous blows inflicted by his 
opponent. When the lights are turned on it 
is revealed that the would-be robber is none 
other than Hokoruma, the butler. 

Lieutenant Pond is, of course, fully forgiven 
by the colonel, who is saved from disgrace by 
the courage displayed by the man whom he 
was to court-martial, and to whom he now 
willingly and gladly gives his daughter. 



PLEASE OBLIGE THE IMP 
WITH THE FOLLOWING 
INFORMATION 
We want each reader of The 
Implet to tell us the names of the 
Independent Theatres in his city 
which exhibit first run, second 
run and third run Imps. 
Send us this information as quick- 
ly as possible. 

A postal will do with the names 
and addresses of the theatres. 
Just address The Imp Films Com- 
pany, 102 West 101st St., New 
York City, and write on the back 
of the card the name and ad- 
dress of the theatre, and say, as 
the case may be, 
First Run, 
Second Run or 
Third Run 

Tell us, in short where, when, 
and how Imp Pictures are shown. 
Mr. Exhibitor, please oblige the 
Imp in this matter so that the 
Imp may, in turn, help you. 



"THE IMPLET" 



INDEPENDENT RELEASE DATES 



RELEASE DAYS. 

Monday — Imp, American, Champion, Nes- 
tor. 

Tuesday — Eclair, Powers, Republic, Than- 
houser. 

Wednesday — Ambrosio. Champion, Nestor, 
Reliance, Solax, Sales Co. 

Thursday — Imp, American, Eclair, Gaumont, 
Rex. 

Friday — Lux, Solax, Thanhouser. 

Saturday — Imp, Great Northern, Nestor, 
Reliance, Republic. 

Sunday — Eclair, Gaumont, Rex. 

IMP. 

April 13 — A Leap for Love (Dr.) 500 

April 13— Mr. Smith, Barber (Com.) 500 

April 15— Rescued by Wireless (Dr.) 1000 

April 18— Woman Always Pays (Dr.) 1000 

April 20 — Lonesome Miss Wiggs (Com.). 600 
April 20 — Scenic Wonders of Yellowstone 

Park (Scenic) 400 

April 22— A Millionaire for a Day (Com.). 1000 

April 25— The Loan Shark (Dr.) 1000 

April 27 — U. S. Artillery Manoeuvers (Mil.) 400 
April 27 — A piece of Ambergris (Dr.).... 600 
April 29 — The Lure of the Picture (Dr.).. 1000 

May 2— All for Her (Dr.) - 1000 

May 4 — Melodrama of Yesterday (Com.) 600 

May 4 — Breach of Promise (Com.) 400 

May 6— On the Shore (Dr.) 1000 

May 9— The Land of Promise (Dr.)... 1000 

May 11— The Staff of Age (Dr.) 600 

May 11— Let Willie Do It (Com.) 400 

May 13— Jim's Atonement (Dr.) 1000 

May 16— Lady Audley's Secret (Dr.) 1000 

May 18 — Henpecked Ike (Com.) 600 

May 18— ENGLISH STAG HUNTING, 

(Sporting) 400 
May 20— A Cave Man Wooing (Com.).. 1000 

May 23— The Clown's Triumph (Dr.) 1000 

May 25 — The Maid's Stratagem (Com.).. 600 
May 25 — Views of Los Angeles, Cal. (Sc.) . 400 

May 27— The Thirst for Gold (Dr.) 1000 

May 30— The Peril (Dr.) 1000 

June 1 — Up against It (Com.) 600 

June 1 — The Art of Making Silver- 

Plate (Ind.) 400 

June 3— The Breakdown (Dr.) 1000 

June 6 — The Return of Captain John, 

(Dr.). 1000 
June 8 — A Case of Dynamite (Com.).... 600 
June 8 — Fun in a U. S. Military Camp, 

(Sporting) 400 
June 10— Nothing Shall be Hidden (Dr.). 1000 

June 13— Channels of Love (Dr.) 1000 

June 15 — How Shorty Won Out (Com.).. 600 
June 15 — Bull Fight in Nuevo Laredo, 

Mexico (Sporting) 400 

Tune 17 — Hearts in Conflict (Dr.) 1000 

June 20— The Schemers (Dr.) 1000 

Tune 22 — Ferdie's Family Feud (Com.).. 400 
June 22— Clownland (Com.) 600 

AMERICAN. 

April 11— The Coward (Dr.) 1000 

April 15— The Distant Relative (Dr.) 1000 

April 18— The Range Detective (W. Dr.). 1000 

April 22— Driftwood (W. Dr.) 1000 

April 25— The Eastern Girl (W. Dr.) 1000 

April 29— The Pensioners (W Dr) 1000 



May 2— The End of the Feud (Dr.) 1000 

May 6— The Wedding Dress (Dr.) 1000 

May 9— The Myth of Jamasha Pass (Dr.) 1000 

May 13— The Other Wise Man (Dr.) 1000 

AMBROSIO. 

April 3 — A Mother's Love (Dr.) 

April 3 — A Dancing Fit (Com.) 

April 10— The Wedding Dress (Dr.) 

April 17 — The Tramp and the Barrel (Com.) 

April 17 — A Day of Haste (Com.) 

April 24 — Reaping the Harvest (Dr.).... 
May 1 — (No release this date.) 

BISON 

April 15— Blazing the Trail (Dr.) 

May 1— The Post Telegrapher (Dr.) 

CHAMPION. 

April 10— Salvation Sue (Dr.) 950 

April 15 — Baby's Adventures (Com.) 950 

April 17 — A Gay Deceiver (Com.) 

April 17 — Bermuda (Sc.) 

April 22— Winona (Dr.) 950 

April 24 — Brothers (Dr.) 950 

April 24 — The Horse Thieves of Bar X 

Ranch (Dr.) ,. 950 

May 1 — An Italian Romance (Dr.) 950 

May 6 — Realization of a Child's Dream 

(Dr.) 950 

May 8— Lucky Jim (Dr.) 950 

ECLAIR. 

April 16 — A Son's Ingratitude (Dr.) 

April 18— Oh! You Ragtime (Com.) 

April 21 — A Generous Pardon (Dr) 

April 21 — Portuguese Dancers (Dance) . . . 
April 23 — Legend of Sleepy Hollow (Com. 

Dr.) 

April 25 — The Easter Bonnet (Com.) 

April 28 — Miette's Adventures (Dr.) 

April 28 — Fishes of the Tropics (Edu.)... 
April 30 — The Revenge of the Silk Masks 

(Com.) 

May 2 — Cousin Kate's Revolution (Com.) 
May 5— The Voice of the Past (Dr.)... 
May 5— The Alhambra Granda (Edu.). 

May 7— The Raven, 2 reels (Dr.) 

May 9 — Her Week of Anguish (Com.). 

May 12 — A Useless Sacrifice (Dr.) 

May 12 — Arabian Customs (Edu.) 

GAUMONT. 

April 14 — The Prairie on Fire (Dr.) 

April 18 — A Bet and Its Results (Com.) . . 
April 21 — The Mysterious Cigarette (Dr.) 
April 25 — Jimmie Pulls the Trigger (Com.) 
April 28 — Heliogabalus, Tyrant of Rome 

(Dr.) 

April 28 — Dinant of the Meuse (Scenic).. 

May 2— The Shade of Autumn (Dr.) 

May 2 — The Banks of the Danube (Scenic) 
May 5 — Driven from the Ranch (Dr.).. 
May 9 — Jimmie, the Bold Buccaneer 

(Com.) 1000 

May 12— The Lost Ring (Dr.) 

May 12 — Upper Bavaria (Scenic) 



April 6- 
April 13- 
April 13- 
April 20- 
April 20- 
April 20- 
April 27- 
May 4- 
May 4- 



April 5- 
April 5- 
April 12- 
April 19- 

April 19- 
April 26- 
May 3- 
May 3- 
May 3- 
May 10- 
May 10- 

April 17- 
April 20- 
April 22- 
April 24- 
April 27- 
April 27- 

April 29- 

May 1- 

May 4- 

May 4- 

May 6- 

May 8- 

May 11- 

April 16- 
April 16- 
April 20- 
April 23- 
April 27- 
April 30- 
April 30- 
May 4- 
May 7- 
May 11- 

April 3- 
April 3- 
April 6- 
April 10- 
April 13- 
April 17- 
April 20- 
April 24- 
April27- 

April 27- 
May 1- 



GREAT NORTHERN. 

-During the Carnivals (Com.)... 

-Joke on Henpeck (Com.) 

-Glimpses of Southern France (Sc.) 

-Those Eyes (Dr.) 

-Revenge Is Blind (Dr.) 

-Clever Boys (Acrobatic) 

-The Dream of Death (Dr.) 

-The Musician's Love (Dr.).... 
-Norwegian Mountain Clefts (Sc.) 

LUX. 
-Bill Mentally Deranged (Com.) 478 
-An Enjoyable Ride (Com.).... 426 
-The Miner's Claim (W. Dr.)... 960 
-An Embarrassing Purchase 

(Com.) 514 

-Ching-Chang in Paris (Com) . . . 429 

-The Crimson Heart (Dr.) 937 

-Go to the Rescue! (Com.) 557 

-Arabella's Droll Wooing (Com.) 377 

-Bill As a Brigand (Com.) 557 

-The Lassie from Aberdeen (Dr.) 521 
-Bill as the Detective (Com.) ... 390 
NESTOR. 

-Her Indian Hero (W. Dr.) 

-The Love Trail (Com.) 

-Lottery Ticket No. 13 (Dr.)... 
-The Little Nugget (W. Dr.)... 

-Three of a Kind (Com.) 

-American Lumber Mill — Albu- 
querque, New Mexico (Ind.) 

-The Impostor (Dr.) 

-The Everlasting Judy (Com. -Dr.) 
-Her Corner on Hearts (Com.) 
-Isleta, N. M., Indian City (Sc.) 
-The Ten of Diamonds (Dr.)... 
-The Thespian Bandit (W. Com.) 

-A Game of Bluff (Com.) 

POWERS. 
-Her Lord and Master (?) (Com.) 

-What's the Use? (Com.) 

-Ethel's Sacrifice (Dr.) 

-Bangs' Burglar Alarm (Com.).. 

-The Schemers (Dr.) 

-When the Lily Dies (Dr.) 

-The five Senses (Com.) 

-In Friendship's Name (Dr.)... 
-A Bridegroom's Troubles (Com.) 
-Retribution (Dr. ) 

RELIANCE. 

-Birthday Present (Dr.) 

—Raising Alligators (Ind.) 

-Mother (Dr.) 

-When the Heart Calls (Dr.) 

-An Opportune Burglar (Com.). 
-A Question of Evidence (Dr.).. 

-Love Is Blind (Dr.) 

-The Burglar's Reformation (Dr.) 
-Bedelia as a Mother-in-Law 

(Com.) 

-The Pygmy Circus (Edu.) 

-Return of John Gray (Dr.).... 



May 4 — His Love of Children (Dr.) 

May 8— The Recoil (Dr) 

May 11 — The Miser's Daughter (Dr.) 

REPUBLIC. 

April 2— Two Women (Dr.) 

April 6 — A Dual Personality (Dr.) 

April 9 — Cure for Stage Fever (Dr.)... 

April 13 — A Tragic Moment (Dr.) 

April 16 — Los Anarquistas (Dr.) 

April 20 — A Severe Lesson (Dr.) 

April 23— The Averted Step (Dr.) 

April 27 — The Claim Jumper (Dr.) 

April 30— The Tale of a Kite (Com. -Dr.). 

May 4 — On the Tide (Dr.) 

May 7— The Baby's Shoes (Dr.) 

May 11 — From the Path Direct (Dr.)... 
REX. 

April 4 — Modern Slaves (Dr.) 

April 7 — The Unending Love (Dr.) 

April 11— A Tangled Web (Dr.) 

April 14— The Seal of Time (Dr.) 

April 18 — Beauty and the Beast (Dr.) 

April 21— While Wedding Bells Ring Out 

(Dr.) 

April 25 — The Fashion Review (Topical).. 

April 28 — The Serpent's Eyes (Dr.) 

May 2— Fate's Warning (Dr.) 

May 5 — A Thorn in Vengeance (Dr.) . . . 

May 9 — Drawing the Line (Dr.) 

SALES CO. 
April 3 — Animated Weekly No. 4 (Top.) 
April 10— Animated Weekly No. 5 (Top.) 
April 17 — Animated Weekly No 6 (Top.) 
April 24— Animated Weekly No. 7 (Top.) 
May 1 — Animated Weekly No. 8 (Top.) 
May 8 — Animated Weekly No. 9 (Top.) 
May 15 — Animated Weekly No. 10 (Top.) 

SOLAX. 
April 5 — Bill's Troublesome Grip (Com.) 
April 10 — The Detective's Dog (Com.-Dr.) 

April 12— Billy's Nurse (Com.) 

April 17— Saved by a Cat (Dr.) 

April 19 — Billy the Detective (Com.) 

April 24— The Sewer, 2 reels (Dr.) 

April 26 — Billy's Insomnia (Com.) 

May 1 — The Reformation of Mary (Dr.) 
May 3 — A Question of Hair (Com.)... 

May 8 — The Wooing of Alice (Dr.) 

May 10 — Auto Suggestion (Com.) 

THANHOUSER. 
April 2— The Star of the Side Show (Dr.). 
April 5 — The Girl of the Grove (Dr.)... 
April 9 — A Love of Long Ago (Dr.)... 

April 12— An Easy Mark (Dr.) 

April 16— The Baby Bride (Dr.) 

April 19 — Into the Desert (Dr.) 

April 23 — Rejuvenation (Dr.) 

April 26 — When Mandy Came to Town (Dr.) 
April 30— The Cry of the Children, Parts 

I and II (Dr.) 

May 3 — Miss Arabella Smith (Dr.) 

May 7— The Saleslady (Dr.) 

May 10 — Love's Miracle (Dr.) 



SMASH GO THE PRICES!!! 

JUST A FEW STATES LEFT OF THE MOST WONDERFUL PRODUCTION 

"THE CRUSADERS" or "JERUSALEM DELIVERED" 

Exclusive Territory Without A Bonus — Small Investment — Big Profits 

A Three-Reel Feature of Tremendous Interest--A Great Historical Subject. 

Marvelously staged and enacted by the World's Best Actors. 

The story of the Holy War waged in Palestine between 

the Christians and the Saracens. 



Eight Sheet, Three Sheet and One Sheet 

Posters and Heralds. 

Live State -Right Buyers 

Can Earn A Fortune 



COLONIAL BUILDING 

PHONE RIVERSIDE 4914 




Just a few desirable states open 
Wire, Phone or Write Today 

Columbus Avenue and 101st Street 
N E W YORK CITY 



FeeUwre Films # Nothing Else 



THE ADVENTURES OF MR. AfflOST BITTT 

Copyright 1912 Ca rl Laem mla f 

He ALMOST Gets a Great Moving Picture This Time, BUT— 




HPL ^ IwYiv^llof" 1S wortn more to you every week than we ask \X7hwy? 

* "C lIIlJJlClp you to pay for a whole yearns subscription. * * "-J • 

( 1 .) Because by tearing out the right hand pages and hanging them in your lobby you attract scores of 
extra people into your house. These pages are a permanent feature of The Implet. 

(2.) Because The Implet contains authoritative news of future Imp releases before you can find such news 
anywhere else. This helps you deal knowingly with your exchange. 

(3.) Because the pages of The Implet are a great help to you in preparing your advertising, whether in 
newspapers, dodgers, heralds or otherwise. 

(4.) Because The Implet has better ways of securing real news and reliable information about the moving 
picture business than any publication in the world and we intend to use that advantage to your benefit. 

(5.) Because The Implet curries favor nowhere, except with you! It is a "free press" in the highest 
sense of the word; free from fear; free from restraining influences; free to give you the straight, 
honest truth every week, and in advance of all others. 



Fill the enclosed blank and send 
it with the correct sum of money 
NOW. It's a small investment 
but the best you can make. 
Carl Laemmle never gave you a 
wrong tip in any paper. It's all 
the more certain that he won't 
in his own, The Implet! 



IMP FILMS CO. 

102 West 101st Street, New York, N. Y. 

Gentlemen: — Enclosed find $ for which enter my subscription to The Implet for 

years. (The price is $ 1 .00 per year.) 

Name 

Address 



"THE IMPLET" 




r:o; 



Here Comes "THE PERIL 



(Copyrighted 1912 Imp Films Company) 

It is a 1000-foot feature absolutely different from any Decoration 
Day release ever produced. King Baggot and a strong sup- 
porting company at their very best. If you don't begin to ask for 
it now, you may not get it at all. Released Thursday, May 30th. 

THE THIRST FOR GOLD 

(Copyrighted 1912 Imp Films Company) 

Another of those magnificent western mining Imps. There 
hasn't been a mediocre one in the whole series thus far, and 
there isn't going to be! This one has the real "punch" to it. 
Released Monday, May 27th. 

Baggot in a Screaming Split 

UP AGAINST IT 

(Copyrighted 1912 Imp Films Company) 

This is not only a "split" reel but it tells the story of a split 
pair of trousers. King Baggot goes into society and rips his 
panties. Then the fun begins. If you don't scream with 
laughter at this film, you've got a wooden Indian lashed to the 
mast. On the same reel we release "THE ART OF SILVER 
PLATE MAKING," one of the most interesting things you 
ever saw. Secured by special grant from the makers of the 
famous Sheffield Plate. Released Saturday, June 1st. Get it! 




Imp Films Company 



102 West 101st Street, 



NEW YORK CITY 




Four more pages added to "The Implet" 

making it bigger and better than ever. Are you getting it EVERY WEEK? 

If not, why not ? 



*4 



12 



"THE IMPLET" 



Take It Back! 



CTrea 



I Don't Want to Sell The Laemmle Film 

Service After All— Last Week's 

Advertisement Withdrawn 



(By Carl Laemmle) 



Last week u The Implet" contained an adver- 
tisement headed "For Sale, the Laemmle Film Service." 

That ad was written ten weeks ago and was one of the series of ten articles appear- 
ing in "The Implet." When I wrote it I meant every word of it, but big changes 
can take place in ten weeks and big changes have taken place. 

Since writing that well-intended but mistaken 

advertisement I have got things in such shape that the 

Laemmle Film Service can continue to be the "biggest and best film renter in the 
world" without hampering me in my other work. It was because I was afraid too 
much work was pulling my health to pieces that I wanted to sell it out and devote 
all my time to the "Imp." 

So I apologize for my u false alarm/' especially 

to those men who took the ad in good faith (as I intended 

it when I wrote it) and made me some very flattering offers for the Laemmle Film 

Service. Now that things have shaped themselves so as to make the Independent 

situation safer than ever---impregnable in fact---the "Imp" is in a position to turn 

out better films than ever and the Laemmle Film Service is fixed to give better service 

than ever. 

By the way, how do you like the enlarged "Implet" and can you suggest 

improvements? 





The Universal Company and "The Imp" 

Carl Laemmle Interviewed 
A Plain Statement of Facts 



Mm 

». . * "i 



The formation of the Universal is now a 
matter of common knowledge. This two-mil- 
lion-dollar corporation has been founded by 
Chas. Baumann, of the New York Picture 
Company; W. H. Swanson, of the Rex; P. A. 
Powers, of the Powers Co., and Carl Laemmle 
of the Imp Films Company. Each of these 
concerns has been sold to the Universal Com- 
pany. 

In the interests of and for the information of 
the readers of "'The Implet." the editor of the 
paper put this question to Air. Laemmle: 

"Why have you sold the Imp to the Uni- 
versal?" 

This is the substance of Air. Laemmle*s re- 
ply, and given as nearly as possible in his own 
words as he spoke them to us. 

"Why have I sold the Imp to the Universal? 
Because I believe it is the best thing that can 
happen to promote strength and permanency 
to the Independent film movement. I believe 
if we had not taken this step the Independent 
ranks would have been unable to withstand 
the repeated assaults from within and without. 
"The Universal Company will continue to 
use the names "Imp," "Rex," Powers." "Bison." 
"Nestor." "Champion," "Republic," to designate 
its various brands. Associated with these will 
be enough ether high-class brands to make up 
a full program of FINE RELEASES. 

"Instead of selling these releases indiscrim- 
inately they will be sold only to exchanges 
which secure exclusive territorial rights. This 
is a condition which honest exchange men have 
long desired to see in force. 

"Exhibitors, for the first time in the history 
of the Independent films movement, will be 
able to secure totally exclusive programs with 
no such things as 'repeaters,' and no danger 
whatsoever of having a program that will 
clash or conflict with that of another Inde- 
pendent exhibitor. 

"Looking back through our corresnondence 
files, which are filled with letters from ex- 



changes and exhibitors urging this very action 
upon us, the only wonder is that we did not 
do it long ago. 

"It will mean a wonderful uplift in quality. 
Men who have spent the most valuable- part of 
t::eir time fighting and trying to outgeneral 
each other, are now working in perfect har- 
mony and unison, bending every energy to- 
ward improving the quality of films to' the 
highest possible point. 

"The Sales Compan3 r was for a time the sal- 
vation of the Independent cause. But it be- 
came a hotbed of politics, and was almost con- 
stantly threatened with disruption. The good 
brands of film had to help carry the inferior 
ones. 

'Under the new plan disruption is impossi- 
ble. The L T niversal Company is impregnable 
to assaults from without or within. It stands 
guard over the independent cause, placing it in 
a stronger and safer position than it has ever 
enjoyed before. 

_ "None of the men who formed the Universal 
Company will retire from the moving picture 
business. We are all here to stay. Only in- 
stead of expending time, money and energy 
fighting each other we can devote every minute 
to the improvement of films. We can produce 
our own magnificent features without having to 
borrow them from Europe. We can accom- 
plish things while working in unison that 
would have been impossible under the old 
plan." 

In conclusion Air. Laemmle said: 

"If there's anything I have not made clear 
I hope the exhibitors will write and ask ques- 
tions. I have always believed in keeping ex- 
hibitors informed about moving picture af- 
fairs." 

"The Implet" will be glad to be made the 
vehicle for any information sought as to the 
plans and progress of the Universal. 




P 

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DEMAND 



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Let No Man Put Asunder" 

The Great Imp Moral Drama 
Thursday June 13th 



'*•£■ "■<•/■' r, 












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"THE IMPLET" 



Che "Jmplet" . 

The Moving Picture Newspaper 

Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 

Published at 102 W. 101»t St., New York 

SUBSCRIPTION PRICE, 91.00 PER YEAR 
SINGLE COPY, 5 CENTS 



"THE READER IN COUNCIL." 

Last week on page 2 of "The Im- 
plet" we printed under the heading 
of "The Reader in Council" a num- 
ber of communications from readers 
about their literature and other 
things. In the next two columns to 
that article we also printed some 
specimen "ads" from exhibitors' litera- 
ture. 

This is what we would like to do 
every week. We want the reader of 
"The Implet" to write us just as he 
wrote us last week and to give us an 
opportunity of commenting on what 
he told us, or offering our ideas as 
they are sought. 

We would like to have a permanent 
article under this heading. 

We would like to have the reader's 
ideas, for example, as to what he 
would like to appear in "The Im- 
plet." It is for his benefit that "The 
Implet" is written, therefore if he 
fails to see in the paper what he would 
like to see there it is his own fault for 
not writing us. 

CHANGE OF RELEASE. 

At the last moment, in view of the 
enormous interest attaching to the pres- 
ent Presidential election, we have de- 
cided to substitute for the release "A 
CASE OF DYNAMITE." on Saturday, 
June 8, 1912, a half-reel subject entitled, 
"PRESIDENTIAL POSSIBILITIES." 
This picture includes striking portraits 
of President Taft, Theodore Roosevelt, 
Champ Clark, Senator LaFollette, May- 
or Gaynor and others. It gives a splen- 
did idea of the strenuous nature of the 
campaign. 

Every exhibitor should demand re- 
lease of June 8th, including this extraor- 
dinarily interesting series of views. 



CAST OF THE IMP PLAYS. 

"The Breakdown." 

(Imp Drama Release, Monday, Jun? 

3, 1912.) 

Written by King Baggot. 

Produced by Otis Turner. 

Huntley Sharpe, 

Jim Simpkins (the double), 

King Baggot 

John Hamilton W. R. Daly 

Robert Harmon Wm. E. Shay 

The Maid Violet Horner 



"The Return of Captain John." 
(Imp Drama Release, Thursday, June 

6, 1912.) 
Written and Produced by F. J. 

Grandon. 

John Strong Harry Pollard 

Alice Thompson Margarita Fischer 

Mrs. Thompson Louise Crolius 

Mr. Thompson Ben Horning 

Mark Battle E. J. Le Saint 

Ellen Battle Dolly Larkin 



"A Case of Dynamite." 

(Imp Comedy Release, Saturday, June 

8, 1912.) 

Written by C. Todd. 

Produced by Herbert Brenon. 

Jonathan Jay J. R. Cumpson 

Mrs. Jay Rolinda Bainbridge 

Cy Master Joe Moore 

A Villager Frank Wilson 



LOCAL 



COLOR 



There seems quite a rage among 
moving picture makers for getting 
what is known among writers of fic- 
tion as "local color." That is to say, 
when your novelist is going to write a 
book, for example an Alaskan life, he 
goes out to Alaska, steeps himself in 
Alaskan lore, scenery, customs, per- 
sonalities, etc., makes his book on the 
spot, so to speak. That is "local 
color." 

Some of the film makers, as we 
have said, are doing much the same 
sort of thing for their pictures. Some 
have gone to Ireland for the purpose 
of making Irish pictures; others have 
gone to Egypt; others have sent com- 
panies into remote parts of Canada; 
companies have been sent to Cuba, 
Florida; we, ourselves, have a com- 
pany in California. 

Speaking for ourselves, our com- 
pany is at present in California, be- 
cause, outdoor settings are difficult 



to obtain here in the East in the win- 
ter, and then, again, we get variety 
of scenery in the pictures. Variety is 
the spice of life and is also the means 
of success in motion picture making. 

But most of the Florida, California 
and other ventures made by ourselves 
and other companies are expedients 
and not necessities. It was not neces- 
sary to send a company to California, 
but it was certainly expedient, and 
that is the point of what we want 
to say. It was not necessary to send 
a company especially to Ireland to 
make "Shamus O'Brien." It was not 
necessary for us to send a company 
to England for the purpose of mak- 
ing "Lady Audley's Secret." 

And yet both of these picture plays 
have been singled out by experts as 
under the circumstances masterpieces 
of motographic art. 

If we had sent a company to Ire- 
land it would have cost us a whole 



lot more money, and if we had sent ■ 
a company to England we should j 
have been in like case, and the pic- 
tures, excepting in one or two small 
matters of detail, would not have been 
a bit better to look at. 

They would not have been a bit 
better acted, a bit better staged or a 
bit better photographed. 

So that the "local color" purchased 
at such a heavy price would not have 
helped anybody any, not ourselves, 
not the exhibitors, not the public. 

There is not much to "local color' 
excepting that it involves the film 
maker in needless expense, at least in 
most cases. 

As we said two weeks ago, "the play's 
the thing" ; the story, the acting, the 
general presentation of the theme. 

This is the true "local color." 

We shall have more to say on this 
theme at other times in the interests 
of manufacturers. 



PLEASE WRITE TO THE IMP. 

We hope the reader has digested 
the series of articles which have ap- 
peared in recent numbers of "The 
Implet," dealing with the advertising 
of moving picture theatres, both in 
the newspapers and in special litera- 
ture distributed among the audience. 

What "The Implet" wants the ex- 
hibitor to do is to send us the litera- 
ture which he distributes among his 
patrons. We will, if necessary, criti- 
cise it and offer suggestions for its 
improvement, if improvement can be 
introduced. 

"The Implet" wants particularly to 



help the exhibitor just in the measure 
of the exhibitor's needs. Every let- 
ter that is sent to us on this or any 
other subject will, if necessary, be 
personally answered. 

But, please, write to us. 

Criticise the Imp pictures; or say 
what kind of pictures you want; or 
ask us how you shall advertise them; 
ask us anything you like, and if we 
can answer it we will. 

"The Implet" is a unique proposi- 
tion. As we have said over and over 
again, it exists for the aggrandize- 
ment of the exhibitor. Aggrandize- 
ment is a big word, but we cannot 



help writing it because our classical 
education impels us to think that 
way. 

This is what we mean in smaller 
words, though you will see that one 
big word comprehends many little 
ones. 

We want you to look upon "The 
Implet" as your own paper. The 
central source to which you may go 
whenever you wish to learn anything 
you may want to know. 

Now write to us. 

Write. 

Write us often, as often as you 
please, and when you please. 



MOVING PICTURES AND THE 
CHILD. 

By Elizabeth Atwood. 

["The Implet" goes on record as 
endorsing the general sentiments of 
this article. The Imp films are re- 
markable for their freedom from any- 
thing calculated to repel or shock the 
sensitive minds of children. — Editor 
"Implet."] 

How much harm the moving pic- 
tures are working in their catering to 
a morbid curiosity may not be meas- 
ured. We have seen good results 
come from the censorship which has 
excluded pictures more or less ob- 
scene and criminal, why not a cen- 
sorship which will exclude the brutal- 
izing reproductions, no matter how 
true historically? 

In our little suburb we have a first- 
class little theatre given up to mov- 
ing pictures and vaudeville. It is 
conducted in a most respectable man- 
ner by some of our most highly re- 
spectable citizens. The children of 
our most respectable citizens and their 
respectable parents, all go frequently 
to this eminently respectable place. 

My children and some of their 
friends induced me to go with them 
one night. I saw a good audience — 
one which represented the best people 
of town, and this is a fine little town, 
too — and I felt myself in good com- 
pany. I really enjoyed the first two 
or three films, telling simple stories 
with very beautiful pictures. 

Then a very real and terrible repro- 
duction of the Mormon massacre of 
long ago was given us with horrible 
detail. The agony of the terrified 
women and children, the slaughter of 
their husbands and their own exter- 
mination was portrayed with hideous 
reality. This brought back much to 
the minds of the older ones and put 
a never-to-be-forgotten impression 
upon the minds of the younger ones. 
We were helpless before this terrible 
realism, for we wished to see some- 
thing farther on in the programme. 

Another time a party, my own 
young folks among them, had the 
branding of the horses in the West 
presented with wonderful realism. 
The beautiful creatures, quivering 
with pain, powerless to save them- 
selves. We know this must be done 
on these large plains in order for 



these ranchers to find their own at 
the yearly "round-up," but why tor- 
ture a sensitive public or feed the 
morbid seekers for entertainment of 
this character? 

The most horrible of all, in my 
mind, was a series representing the 
crucifixion. When I remonstrated even 
my young friends said, "Why, they 
only had the robbers; they did not 
place Christ on the screen." Is this 
right? Can it do good? If it enter- 
tains and pleases it must do harm. 

How much should our Canadian 
officials be commended for taking the 
stand which they did in preventing 
the moving picture companies from 
getting films of the landing at Hali- 
fax of the ship with the rescued bodies 
from the Titanic! How determined 
these scenic producers are to find 
heartrending things to portray with 
their almost miraculous skill! I am 
glad they met with a proper rebuff. 

Nothing is sacred apparently. The 
grief of waiting relatives would fur- 
nish them with food to feed this grow- 
nig morbid delight of their patrons. 
So the money-making business crowd 
rushed to the dock to catch the pain 
and anguish sure to be in evidence. 
They would have gloated like ghouls 
over the sickening changes, for here 
was a chance for money making in 
disposing of their wretched spoils to 
the theatre managers. 

It would seem that at least one hor- 
ror is necessary to make a programme 
complete. This proves that there is a 
proportion of morbid onlookers in 
every section to whom such things 
appeal. But why cater to these? Why 
not try to help them out of such a 
condition of mind instead of develop- 
ing more morbid souls to take their 
places? Why not a censorship which 
will compel the managers to leave 
out such films? Then more would not 
be made. Why not follow the admir- 
able example set by the wise and 
kind, those human, Canadian officials? 



ANOTHER RAINEY EXPEDI- 
TION. 

The Bronx Zoo and the American 
Museum of Natural History are both 
to benefit from several hunting expe- 
ditions that Paul J. Rainey has 
planned for the next two years. With 
gun, dog and moving picture ma- 
chine he will hunt game in Africa, 
and the important game regions of 
Asia. Twenty hounds that left New 
York on May 22 with Mr. Rainey are 
destined to be added to the pack he 
already has in British East Africa, 
replacing the dogs that were more or 
less chewed up by lions on his last 
hunting trip. 

"After I get to Narobe, British East 
Africa," said Mr. Rainey, before he 
sailed, "I expect to go up into the 
Congo region with Dr. Karl Akley, 
of the American Museum of Natural 
History, who will secure specimens 
for the museum. Following a stay of 
about six or eight months in Africa, 
I plan to make an extensive tour 
through India and southeastern Asia. 
For my hunting expeditions in the 
Malayan Peninsula, French Indo- 
China, Sumatra and Borneo I expect 
to buy or charter a ship. When I 
start back to New York I shall work 
my way back via the Suez Canal. 

"My chief object in making another 
trip to Africa and the crossing over 
to Asia is to shoot and collect speci- 
mens and to secure cinematograph 
pictures showing the life and haunts 
of bi^ game and the way in which 
they are hunted. In the Congo re- 
gion I shall accompany Mr. Akley on 
a hunt for a very large bull elephant 
which the American Museum of Nat- 
ural History desires for its elephant 
group. Some live chimpanzees will be 
taken into captivity on the same trip. 

"After hunting lions with my 
hounds in British East Africa I shall 
take them to India, where they will 
be used on tiger and bear hunts in 
Cashmere. So far as I can find out 
this will be the first time that tigers 
have ever been hunted with dogs. All 
kinds of animals, both alive and dead, 
will be collected in French Indo- 
China, the Malayan Peninsula and the 
islands thereabouts." 




THE BREAKDOWN 

A strong drama of a man and his "double." 



Copyright 1912 by Imp Films Company 




:^iB 









Huntley Sharpe, a financial magnate, falls sick. He 
goes to Hot Springs to recuperate. A "double" 
impersonates him at his office in an im- 
portant crisis, and so saves the 
company from disaster. 



6-3-12 



IMP FILMS COMPANY 

102 West 101st Street, New York Carl Laemmlm, Pree. 



4 



"THE IMPLET" 



IMP FI LM ADS. 



I 



THE BREAKDOWN 



A powerful drama of high 
finance. With scenes in 
Wall Street, New York 
City. How a great panic 
is averted by a man's 
"double." King Baggot 
plays two parts in one 
drama. 



The Return of 
Captain John 



A pathetic story of 
the sea. A tragedy of 
a wreck and a girl's 
broken heart. A 
magnificent pictorial 
Imp. 



PRESIDENTIAL 
POSSIBILITIES 

Incidents of the pres- 
ent campaign. 

SHRINERS' CON- 
VENTION AT LOS 
ANGELES, CAL. 

A beautiful scenic. 



PLEASE OBLIGE THE IMP 

WITH THE FOLLOWING 

INFORMATION 

We want each reader of The 
Implet to tell us the names of the 
Independent Theatres in his city 
which exhibit first run, second 
run and third run Imps. 

Send us this information as quick- 
ly as possible. 

A postal will do with the names 
and addresses of the theatres. 

Just address The Imp Films Com- 
pany, 102 West 101st St., New 
York City, and write on the back 
of the card the name and ad- 
dress of the theatre, and say, as 



THE DEATH SHIP 



or, "THE WRECK 

THE FILM OF A THOUSAND THRILLS! 



OF THE AURORA' 



STATE-RIGHTS, 15c. a Foot 
NO EXTRA CHARGES 

Secure valuable, exclusive State-rights before it is too late. Wire, phone or 
write today sure. Three-sheet and two different one-sheet posters, beautiful 
heralds and still photos. We hold certificates of registration of our copyright of 



this film, dated February 28, 
and will prosecute all infring- 
extent of the law. 
COLONIAL BUILDING 

Phone Riverside 4914 
Columbus Ave. & lOlst St. 
NEW YORK CI TY 




rUm» SNoUunji Ela** 



1912, Class J, No. 166,714 
ers or dupers to the fullest 



710 First Nat'l Bank Bldg. 
CHICAGO 



the case may be, 
First Run, 
Second Run or 



Third Run 

Tell us, in short where, when, 

and how Imp Pictures are shown. 



Mr. Exhibitor, please oblige the 
Imp in this matter so that the 
Imp may, in turn, help you. 



"PORTUGEE JOE." 

Imp Comedy Release, Saturday June 29th 



I keep da Hotel, de Hotel Portugee, 
It is sailor man's home, when dey 

come off da sea, 
And I hava da wife, she's my sweet 

Bernadotte, 
Da Hotel and da wife are de two 

tings dat I gotta. 

Bernadotte is mucha pretty, as every- 
one see, 

"I must smile and be pleasant," she 
say dat to me; 

And I say, "Don't flirt vit dose sons 
of a gun," 

And she say, "Wots a difference? We 
maka da mon." 

Den somea time cornea da loafers to 

cheat, 
Dey gotta no mon, wot you calla da 

beat, 
Dey getta da drink, den skin out da 

door, 
Den I maka da swear, dey don't do it 

some more. 
Once there cornea da man, and he 

look pretty well, 
Walking up to da bar, just lak one 

dem swell; 
I look at dat man from hees head 

to his feet, 
And I say to myself, "Dat man ees 

no beat." 

He calls for da whiskey, and I say, 

"Of course," 
Den he turn out da drink dat would 

stiffen de horse; 
Den put in a white powder he take 

from his clothes, 
And says, "Good-bye all, send my 

corpse to Cohoes," 



Ma! he drink da stuff down, O Santa 

Marie, 
He kila himself in Hotel Tortugee; 
The police a will come, everybody will 

know, 
And then its skedaddle for Portugee 

Joe. 

Den I rush ter da man, and I grabba 

his feet, 
And I pulla heem out of da door by 

da street, 
And I leave heem dere, so every one 

see 
The man did not die in de Hotel 

Portueee. 



And dere on de bar was some pow- 
der he spill, 

Where it scatter around when ehe 
man maka da kill; 

Den a sailor man dere, hees name 
Portland Pete, 

Stick his thumb in da powder and 
maka da eat. 



An he laugh fit to kill, when he 

smacka his tongue, 
"It- ess sugar," he say, "Portugee, 

you got stung." 
Was I mad — well, I bet you I jump 

for da door 
And I look for da corpse, he's not 

dere any more. 

Now I wait me again and the next 

one will see 
What he gets in the neck in Hotel 

Portugee. 



LETTERS TO THE EDITOR 



May 10, 1912. 
To the Editor. 

Sir: Am getting two, sometimes 
three, Imps a week. Ran your "Call 
of the Drum" on the third. Give us 
more of that kind; it's a fine, clean 
drama. We don't get enough of them. 

A. N. STEBBINS. 
17 Howard Place, 

Springfield, Mass. 



May 9, 1912. 
To the Editor: 

Sir: Good comedies and high-class 
drama arc what my patrons like. 
Truly, 
A. H. CAMPBELL. 
Gem Theatre, 
Salem, Va. 



It's the IMP 



May 11, 1912. 
To the Editor. 

Sir: Long live the "Imps." 
Yours very truly, 

E. T. COOPER. 
Cozy Theatre, 
Pendelton, Ore. 



May 12, 1912. 
To the Editor, 

Sir: — 
We get Imp films frequently; they are 
alwaye welcome. Everyone likes King 
Baggot. 

Very truly yours, 

B. F. PORTER. 

Lyric Theatre, 
Marshall, Minn. 



IT IS THE IMP 

which produces "Lady Aud- 
ley's Secret" the gripping 
2-reel English Society Drama 
of Early Victorian days— De- 
mand This Picture. 

IT IS THE IMP 

which produces the magnifi- 
cent Drama of the Sea "The 
Return of Captain John" one 
of the most exquisitely pic- 
torial offerings ever pre- 
sented-Demand this Picture. 

IT IS THE IMP 

which produces "The Peril" 
a Decoration Day Military 
Drama illustrating life in a 
U. S. Military Fort and tell- 
ing a powerful story of for- 
eign treachery-Demand this 
picture. 

IT'S ALWAYS THE IMP 

which does the big things in 
a big way; and the timely 
things at the right time. It's 
always the Imp that keeps 
your programs alive and 
spends money lavishly to 
make you proud you're 
Independent. 



1 OIL lIVirj^ILl 



The Stories of the Imp Films 




"THE BREAK DOWN." 

Monday Imp Release June 3, 1912. 
Approx. Length 1,000 Feet. 

Copyrighted 1912 by Imp Films Co. 

Disguises and impersonations are 
commoner in real life than most peo- 
ple suppose. Now and again a crisis 
in the big world of commerce, finance 
or politics arises in which it is 
essential that a man should have a 
double so near himself in resemblance 
that a deception can be practiced. 

The officers and stockholders of 
The Mutual Construction Company 
were holding a serious session. Hunt- 
ley Sharpe, the president, announced 
that a half million dollars must be 
raised forthwith in order that certain 
unfinished contracts in hand could be 
completed, then matters of the com- 
pany would proceed smoothly. 

But a minority of the stockholders 
would not trust the president. They 
demanded that a receiver for the 
company be appointed. This demand 
so affected Mr. Sharpe that he suf- 
fered a nervous breakdown, fearing 
the collapse of the company. 

His physicians decided that if he 
would regain his health he must go 
away instantly. This brought about 
unexpected results. The stockhold- 
ers realized that Sharpe's absence 
from the city would bring about the 
very thing they desired to avert, viz.: 
the downfall of the company because 
public confidence in it would be weak- 
ened. 

In this difficulty a bright inspiration 
occurred to the company's secretary. 
He met a man exactly the double of 
Mr. Sharpe. Swearing all to secrecy 
and pledging Sharpe's double like- 
wise, the man was induced to take the 
place of Mr. Sharpe in the office day 
by day. 

Meanwhile, the real Mr. Sharpe 
went to Hot Springs; recovered his 
health after a short course of treat- 
ment, and while there meeting several 
financial kings was so enabled to raise 
the necessary money to complete the 
contracts and assure the continued 
prosperity of the Mutual Construction 
Company. 



"THE RETURN OF CAPTAIN 
JOHN." 

Thursday Imp Release, June 6, 1912. 
Approx. Length 1,000 Feet. 

Copyrighted 1912 by Imp Films Co. 

When Captain Alvin Strong went 
to rejoin his ship, he parted from his 
sweetheart, Alice, with a promise to 
marry her at the termination of the 
voyage. He left a locket in her pos- 
session as a souvenir. The ship, how- 
ever, was wrecked with all on board 
save Captain Strong, who was washed 
ashore on a distant part of the coast 
in an unconscious condition. 

When he was restored to animation 
by the kindly fishermen of the village, 
he had forgotten who he was. In 
other words, the calamity of the ship- 
wreck had deprived him of his mem- 
ory. 

After he regained his physical 
health, he remained in the fishing vil- 
lage and secured a job amongst the 
fishermen. 

Meanwhile, his sweetheart, at home, 
had not given up hope of his return 
and daily frequented the shore in ex- 
pectation of seeing his ship return. 

As Alvin Strong progressed in his 



new work, he also progressed in the 
affections of the daughter of his bene- 
factor, the old fisherman. In course 
of time he married the girl, and a 
baby was born to them. Still, he had 
no recollection of the past beyond the 
day when he was thrown upon the 
shore and was restored to life. Every- 
thing in his mind before this was a 
blank. 

One day in company with several 
of his fellow fishermen, he had to take 
a trip by water to the village which 
he had left two years before as Cap- 
tain Strong. Alice recognized him, 
so did her mother and many of the 
villagers, but he failed to recognize 
them. There was a scene of anguish 
between the girl and him, and she at 
last brought about his recognition of 
her by showing him the locket that 
he had given her two years before. In- 
stantly reason returned to him and he 
realized the position that he stood in. 
He had pledged himself to this girl, 
but he had married another and there 
was a child. Duty triumphed, how- 
ever, and he returned to his wife and 
child, leaving Alice in despair and 
disappointment. 



"A CASE OF DYNAMITE." 
Saturday Imp Release, June 8, 1912. 

Approx. Length 600 Feet. 
Copyrighted 1912 by Imp Films Co. 

Jonathan Jay, while waiting on a 
customer in his little country store, 
catches Cy, the village bad boy, steal- 
ing apples. He punishes him with a 
whipping, and Cy plans revenge. 

The opportunity comes when Jon- 
athan gets a telegram calling him to 
the city to close up a business deal. 
While he is buying his ticket Cy 
paints the word "Dynamite" on his 
grip, and as the train pulls in, Jon- 
athan hurriedly picks up the case, and 
rushes for his car, without noticing 
the awful word thereon. 

On his arrival in the city he goes to 
a jewelry store, where the clerk see- 
ing the name on the grip, offers him 
practically everything in the store. 
Jay takes all he can carry and starts 
for the bank. The jewelry clerk 
rushes for a policeman and they give 
chase to the unsuspecting country- 
man, who goes into the bank to draw 
out some money. Here he meets with 
the same experience, as the cashier 
also fears an explosion. Jay is now 
well loaded down with money and 
jewelry — but is soon tracked by the 
cashier and the clerk and the police- 
man. After many amusing experien- 
ces he is captured and taken to jail, 
where everything is satisfactorily 
explained; he is released and starts 
happily for his country home. 



"THE SHRINERS' CONVENTION 
IN CALIFORNIA." 

Saturday Imp Release, June 8, 1912. 
Approx. Length, 400 Feet. 

Copyrighted 1912 by Imp Films Co. 
The procession was chiefly formed 
of a large number of floats emble- 
matic of the States and various bodies 
affiliated to and with the Shriners. 
Noticeable were the Japanese floats, 
and the Californian "Bear." All the 
floats were artistically decorated with 
real flowers and picturesquely attired 
figures. They embraced many shapes, 
including gondolas, ships, houses, etc. 
At night time there was a proces- 
sion of illuminated floats and other 
vehicles as wp". as mammoth animals, 
the whole forming a veritable feast 
for the eye of brilliantly illuminated 
effects. 



"NOTHING SHALL BE HIDDEN." 
Monday Imp Release, June 10, 1912. 

Approximate Length, 1,000 Feet. 
(Copyrighted, 1912, by Imp Films Co.) 

Fred Langdon, a young inventor, 
has a sweetheart, Lillian Stanhope, 
who returns his affections, but there 



is a parental objection. Fred is poor, 
and Mr. Stanhope has ambitious 
schemes for marrying his daughter to 
a man of present wealth and posi- 
tion rather than to one whose wealth 
and position are probably still in the 
making. So he parts the young peo- 
ple. 

However, Fred is assiduous in his 
work, and in the course of it makes 
one or two important scientific dis- 
coveries with regard to the transmis- 
sion of sound and light waves. Call- 
ing up his still loyal sweetheart, he 
makes the discovery that at that mo- 
ment Mr. Stanhope's house is being 
ransacked by . burglars. So Fred 
calls up the police station, and the 
burglars are captured. Fred made 
his discovery in virtue of the fact 
that he could hear what was taking 
place in the room, although there was 
no direct telegraph connection. 

The burglars, having been captured, 
and Mr. Stanhope becoming aware 
of Fred's usefulness in the matter, 
offers to buy an interest in the in- 
vention, but the young lover told him 
nothing short of his daughter's hand 
would buy any part of it. Mr. Stan- 
hope, anxious to get in on the mar- 
velous invention, and realizing that 
his daughter was more than willing to 
trust herself to Fred Langdon, gave 
his consent to the union. 



"LET NO MAN PUT ASUNDER." 



Thursday Imp Release, June 13, 1912. 

Approximate Length, 1,000 Feet. 
(Copyrighted, 1912, by Imp Films Co.) 

Drink is fastening its arms around 
Frank Downing; he has broken prom- 
ise after promise made to his wife to 
reform, and she in despair appeals to a 
friend, who endeavors to persuade 
her to leave and accept a position as 
teacher in the village school in a 
distant part of the State. One night 
Downing comes home helpless, having 
spent his week's wages for drink, 
and there is no food in the house for 
Edna and the boy, Tommy. This de- 
cides the question, and Edna and 
the little boy leave the degraded man 
to sro forth into the world and earn 
their living. 

Upon arriving in the village where 
her school is located, Edna meets and 
inquires the way of John Stevens. He 
is a widower and is devoted to his 
little daughter, Doris, to whom he 
is both father and mother. Through 
this chance meeting a friendship is 
established between Edna and John, 
which grows stronger and stronger 
as time passes, until John discovers 
that he loves her very dearly and asks 
her to be his wife. Edna then ad- 
mits her love and confides her story 
to him. He is wiling to wait until 
she can secure a divorce. 

During vacation Edna and Tommy 
return to their old home town, and 
here she secures her freedom. And 
now queer fate enters the picture. 
While she is away a man, a wreck 
and practicaly a tramp, is arrested in 
the village and tries to dispose of 
some carpenter tools, which are rec- 
ognized as being the property of John 
Stevens. The man is Downing. He 
is taken to Stevens' shop in order 
that the tools may be identified. 
Downing makes an appeal to Stevens 
— the appeal of desperation — and 
John, who is touched, saves the man 
from the law's grasp by stating he 
is a new workman whom he has just 
employed. 

Downing is put to work, and Stev- 
ens helps him to fight his curse. Fi- 
nally he is reclaimed and becomes a 
man in fact. 

Edna returns to the village full of 
hope, and Stevens, still ignorant of 
the relations that once existed be- 
tween her and the man he has saved, 
is awaiting her with all a true lover's 
impatience. Edna enters the shop and 



comes face to face with Frank. And 
thus does John learn the truth. The 
situation appalls all — all but John, a 
man who knew his God and knowing 
Him abided His will. He joins their 
hands, saying: "Whom God hath 
joined together let no man put asun- 
der." Downing, with the past before 
him, refuses the sacrifice and endeav- 
ors to leave, but John stops him. "It 
is God's will," he says, and the re- 
united husband and wife pass out of 
his life together. 



"HOW SHORTY WON OUT. 



Saturday Imp Release, June 15, 1912. 

Approximate Length, 600 Feet. 
(Copyrighted, 1912, by Imp Films Co.) 

This is a story of college life in 
which the demon of jealousy enters 
into the academical life of the stu- 
dents. The various scenes are ac- 
tually taken in and around a colle- 
giate building, and an idea is given 
of the lighter side of life that is led 
in high-grade educational centers. 

Shorty, like all freshmen, is com- 
pelled to perform many little serv- 
ices for the sophomores, juniors and 
the seniors of his college, and while 
serving one of his classmates he meets 
charming Betty Rossmore, and imme- 
diately falls in love with her. 

His bliss is not of long duration, 
however, as his upper classmates 
force him to introduce them to the 
pretty girl, and then he is left out in 
the cold. A junior promenade ball is 
to be given from which poor Shorty, 
being only a freshman, is barred. Six 
students invite Betty to this affair, 
while Shorty invites her to a dinner. 

Betty, hoping to have some fun, ac- 
cepts each and every invitation. The 
six, one after another, drive up in 
their automobiles and enter the 
house. Such looks are exchanged as 
each comes into the room. Finally 
Betty appears, shaking with suppres- 
ed laughter. Then Shorty walks in 
on the scene, and triumphantly leads 
Betty from the room and house; they 
enter his auto and speed away. 

The disappointed boys, however, 
have a mix-up on the pavement to 
decide who shall escort Betty, not 
realizing that she has vanished with 
Shorty. A policeman is called, and 
the six are bundled into a patrol 
wagon and hurried off to jail. There 
they meditate on the perversity of 
woman, while Betty and Shorty are 
enjoying their dinner. 



"BULL FIGHT IN NUEVO LA- 
REDO, MEXICO." 



Saturday Imp Release, June 15, 1912. 

Approximate Length, 400 Feet. 
(Copyrighted, 1912, by Imp Films Co.) 

On the occasion of Washington's 
Birthday, which was celebrated in 
Laredo, Texas, in February, there 
was included among the festivities at 
Nuevo Laredo Mexico, just across 
the border, a bull fight, which was 
very largely attended by those who 
took part in the celebration. The vari- 
ous scenes attendant upon this form 
of sport as shown in the picture have 
no trace of cruelty or brutality. 

Two or three sturdy bulls are 
turned into the ring, and beset by 
the nimble picadors, matadors and 
others, whose duty it is to irritate 
the animals and escape risk of assault 
by their horns. 

The picture is vivid in the extreme, 
but stops short of actual carnage, al- 
though in one part of it the bull is 
seen in the last extremity of his life. 
But there is nothing degrading or 
revolting in the picture, which is of a 
very sporting nature and illustrates 
the natural pastime of some Latin 
countries. 



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Captain John leaves his sweetheart; sails away; is shipwrecked and does not 
return for two years. Losing his memory, he marries another 

girl, and fails to recognize his former sweetheart. 6612 

IMP FILMS COMPANY 



102 West 101st Street, New York 



Carl Laemmle, Pres. 



"THE IMPLET" 



Criticisms of the Imp Films 



'THE BREAKDOWN." 



Imp Drama Release of Monday, 
June 3. 

CAST OF CHARACTERS. 
Huntley Sharpe, 
Jim Simpkins (the "double"), 

King Baggot 

John Hamilton W. R. Daly 

Robert Harmon Wm. E. Shay 

The Maid Violet Horner 

The sanitaria (or sanitariums, as 
they are sometimes called) are not 
always peopled by the poor. The rich, 
like the poor, are always with us, and 
the rich, also like the poor, have their 
mental and physical troubles. The 
difference between the two classes is 
simply this — one can pay for the alle- 
viation of its troubles; the other can- 
not. That is all the difference be- 
tween riches and poverty. Still it is 
a vital difference. 

Every now and again a wealthy 
man, or woman, disappears for the 
time from the public ken. Madam 
perhaps goes abroad or visits friends 
by way of a change from the grinding 
world of society functions. She is 
played out and must recuperate, if she 
is to continue playing the game of 
society posturing. As to the man, 
sometimes it is given out that he has 
gone abroad, or is on a sporting trip, 
or is laid by at home. Very frequent- 
ly nothing is said about him; he just 
disappears for a few months. 

At this moment in the various san- 
itariums in the United States, which 
cater to wealthy patrons, you would 
find on analysis many of the men 
there had broken down in health 
through business worries and were 
undergoing cures under assumed 
names. It is not an uncommon thing 
for the railroad president, the bank 
president, the Wall street operator— 
any prominent man, in fact, upon 
whose shoulders the burden of suc- 
cess falls heavily— to go away incog., 
cut off all communication with his of- 
fice, telegraph messenger, letter car- 
rier, and be patched up again by the 
cure or treatment for the tremendous 
strain of modern commercial life. 



"CLOWNLAND IN AN IMP." 

We are all, to quote the late 
Thomas Carlyle, "Children of a larger 
growth," "we" being the grown-ups 
of whom the writer of these lines may 
be accepted as a type. That is to say 
a middle-aged person pretty well at 
his meridian. It is by middle-aged 
persons around about the age of Mr. 
Roosevelt, Mr. Taft and ourselves 
that the world is governed. In other 
words, the world is governed by ex- 
perience and knowledge. 

Few of us who go through the road 
to knowledge by the experience route 
tire of the little diversions that we 
have managed to enjoy on the way. 
One of these is the circus. 
"Breathes there the man 
With soul so dead, 
Who never to himself hath said, 
I like a real good circus show." 

The love of the circus is intuitive 
with mankind, not to mention wo- 
mankind. When we were very little 
men, and very little women, our fath- 
ers and mothers gave us the treat of 
our lives when they took us to the 
circus, and so this love of the circus 
is passed on from generation to gene- 
ration. 

Wherefore without going into more 
precise whys and wherefors just as all 
the world loves a lover because the 
feeling is innate, so all the worldloves 
a circus because that feeling is in- 
nate. 

This is why the Imp split of Sat- 
urday, June 22nd, appeals so largely 
and broadly. It appeals peculiarly to 
children; children who are just cast- 
ing their eye on the form of amuse- 
menl thai delighted their parents. 

"i I,, vnland" is the pathetic little 
story of a small boy who dreams of a 



This is just exactly what Huntley 
Sharpe, president of the Mutual Con- 
structing Company, had to do at a 
great crisis that affected his company. 

His directors stopped his financial 
flights which were conceived in the 
best interests of the Company, so 
Huntley broke down and went away 
to Hot Springs. 

Yet, wonder of wonders, Huntley 
did not go away — that is to say, to all 
appearances he still remained at his 
post in Wall street, New York City. 

For if he had really gone away, if 
he had been suspected of being away, 
or known to be absent from his desk, 
disaster would have overtaken the 
company; the Mutual would have 
been forced into liquidation, and a 
great financial panic would have oc- 
curred. 

Huntley Sharpe got over his diffi- 
culty in a feasible manner. It is said 
that each one of us has a double — that 
is, somebody so like us that each of us 
is mistaken at times for somebody 
else. 

Huntley Sharpe's double appeared 
at a convenient moment and for a 
consideration impersonated Huntley 
from day to day on Wall street. 

How this theme is worked out is 
shown in the Imp drama release of 
"The Breakdown," of Monday, June 
3rd. 

It is a fine piece of dramatic work 
with King Baggot in the leading role 
as Huntley Sharpe, who recuperates 
at Hot Springs. 



"THE RETURN OF CAPTAIN 
JOHN." 

Imp Drama Release of Thursday 
June 6, 1912. 

CAST OF CHARACTERS. 

John Strong Harry Pollard 

Alice Thompson Margarita Fischer 

M rs. Thonson Louise Crolius 

Mr. Thompson Ben Horning 

M ark Battle E. J. Le Saint 

Ellen Battle Dolly Larkin 

This story is line and human and is 
magnificently acted by the Imp Cali- 



fornia Company. Margarita Fischer 
does some of the best work of her 
career as the fate-haunted heroine; 
the other members of the company 
are also well to the fore in their re- 
spective parts. 

Aside from the story and the act- 
ing, here's one reason why we de- 
sire to specially commend this picture 
to all exchanges and exhibitors: 

It shows some of the best marine 
photography ever made in a film. The 




exposure in the beautiful light of the 
California coast was so accurate that 
all the delightful half-tones and gra- 
dations of the sunlit scenes have been 
faithfully portrayed. This is a func- 
tion of moving picture making that is 
often overlooked, viz., that the films 
should record the absolute and rela- 
tive values of the tones of the subject 
in front of the lens. This is the pic- 
torial side of moving picture making. 

As a picture, then, showing graphic 
scenes of fishing life on the California 
coast, and with a heart interest story 
and stirring incidents, "The Return 



of Captain John" must be accountec 
an Imp masterpiece. And when, in 
addition to all this, the technique of 
the picture is perfect to the point of 
(lawlessness it may well be imagined 
that in "The Return of Captain John" 
the Imp Films Company have pro- 
duced another masterpiece. 



"A Case of Dynamite." 
Imp Drama Release of June 8, 1912. 

CAST OF CHARACTERS. 

Jonathan Jay J. R. Cumpson 

Mrs. Jay Rolinda Bainbridge 

Cy Master Joe Moore 

A Villager Frank Wilson \ 

All the fun and misadventure of this 
comedy are traceable to the mischie- 
vous pranks of a small boy, who paints 
the ominous word "Dynamite" on the 
suit-case of Jonathan Jay. In the 
course of his wanderings with the in- 
scribed suit-case Jonathan has to visit 
a bank, where he terrifies the teller. 
Then he has to visit a jewelry store, 
and the jeweler is so alarmed that he 
begs the presumed dynamiter to get 
out of it with all the free loot he can 
handle in order that the dreaded ex- 
plosion may be averted. The police 
then get after the alleged dynamiter, 
and there is a rapid series of adven- 
tures, depicting the wonderment of 
Jonathan and the fear of the police- 
men. Finally, when Jonathan is hail- 
ed into the police station and the suit- 
case opened, it is discovered there is 
nothing more harmful in the case than 
an alarm clock. So all ends happily. 

The picture illustrates the varied 
emotions of people who think they are 
a highly dangerous explosive, and the 
comical indifference of the alleged 
dynamiter. 

J. R. Cumpson is the man with the 
"dynamite," and H. S. Mack makes a 
very comical policeman, and the other 
members of the cast are all funny to 
the verge of ludicrousness. 

The young Imp, Joe Moore, acts 
well in the mischief-making part. 



circus performance which he cannot 
see in reality. But when he wakes up 
Providence puts the necessary money 
in his way, and he goes to see the 
real thing. 

The little boy dreams himself to 
be a king on a throne, and so he is 
shown to be in the picture, the circus 
part of which is performed by a troup 
of professional performers, secured by 
the Imp at great expense. The pic- 
ture is done in excellent style and will 
delight women and children wherever 
it is seen, not omitting to mention the 
grown-ups, among which are you and 
me, Mr. Exhibitor. 



VENTILATE YOUR HOUSE 

The Picto Review is the title of 
a four-page booklet which is devoted 
to the interest of the Picto Theatre, 
at Selma, Ala. The Review gives the 
Independent programme week to 
week, and we are pleased to see it 
features the Imp pictures, and the 
Picto should. 

We cut from the pages of the Re- 
view the following little talk about 
ventilation: 

"There seems to have been some 
discussion and dissension abroad as 
to the ventilation of the Picto. We 
wish it distinctly understood that 
there is no place in the city of Selma 
where the public gathers that is so 
well ventilated. 

"There are two 18-inch ventilators 
running to the outer air, and two 18- 
inch exhaust fans, which insure the 
ventilators doing their work properly. 
We have a third exhaust fan ordered, 
and it will be installed immediately on 
arrival. 

"Each person vitiates about 30 cubic 
feet of air per minute. With a full 
house this means that 0,750 cubic feet 



of air per minute is rendered unfit for 
breathing. Each of the Picto's ex- 
haust fans carry off 3,500 cubic feet of 
this vitiated air per minute, and both 
together carry off more than a pack- 
ed hnu.se can vitiate. And not satis- 
fied with this condition, we are install- 
ing yet a third exhaust fan to add to 
your comfort. 

"Besides this, there are numerous 
fans installed to keep the fresh air 
stirring, and more to be added. 

"Don't take our word, come see for 
yourself." 

As the season of the year when ven- 
tilation becomes of increased impor- 
tance to exhibitors and the public is 
at hand, we commend this little 
pointer to our readers. The perfect 
ventilation, and the due control of the 
temperature of your theatre will con- 
duce to success, and success is what 
you are out for. 



MEXICAN BULL FIGHT IN AN 
IMP FILM. 

In February last Laredo, Texas, in- 
dulged in a celebration in honor of 
Washington's Birthday. The festivi- 
ties lasted over three days, and were 
of a diversified character. They were 
not American in the conventional 
meaning of that term; they were lo- 
cal, which is to say, they were partly 
Texan and partly Mexican. 

The Imp Films Company have re- 
corded many of the Texo-Mexican 
functions that took place. These were 
of a quasi-religious character, as 
Roman Catholicism is the principal 
local form of belief. 

There were allegorical, national and 
other outdoor displays, which includ- 
ed exhibitions indicating the cus- 
toms and manners of both American 
and Mexican life. 



The various committees who super- 
vised the festival were of mixed 
American and Mexican constitution. 

One day there was a bull fight in 
Nuevo Laredo, Mexico, in which fa- 
mous local lighters demonstrated their 
skill. 

This picture has all the character- 
istic features of the bull fight as it is 
conducted in the home of the sport. 
You have a great arena and a large 
audience in the tiers of seats. Then 
there are picturesquely attired mata- 
dors, picadors and toreadors. 

The bull fighters are nimble in their 
work, and the bulls are strong, sturdy 
animals that have a sporting chance 
of downing their opponents. 

One instinctively hums the music of 
"Carmen" when looking at this pic- 
ture. In our opinion there is nothing- 
cruel in the mere pricking of the bull 
by the swords and other implements 
thrust into his skin. They irritate, 
possibly slightly inflame, but they do 
not torture. One particular bull dies 
a sporting death, and dies well and 
heroically. 

At the end of the kill the carcas of 
the animal is removed from the ring 
and another bull "takes the floor." 

This realistic picture will interest 
and excite many audiences no doubt. 
Bull-fighting is a popular sport in 
Spain and parts of France ajul is not 
likely to be extinguished, so far as we 
can see. It is a sport, just as much 
as any form of fishing or hunting. 
The animal has a chance in the con- 
test and is not tortured. 

As a picture illustrating a particular 
phase of life in countries outside of 
the United States, we think this re- 
lease will be of extreme interest, 



A CASE OF DYNAMITE 



A spirited comedy. 

Copyright 1912 by Imp Films Company 




6-8-12 



A bad boy labels an innocent looking suit-case with the word "Dynamite," which gets its owner 

into all sorts of trouble and lands him in jail. 

On the same reel Shriners' Convention at Los Angeles, Cal. 
IMP FILMS COMPANY 



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Carl Laemmle, Pres. 



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CARL LAEMMLE SAYS TO EXHIBITORS: 

"Stick to the Original Independents" 

Here's the "Inside Story" of What Has Been Going On in 
Independent Film Manufacturing Circles— Every 
Exhibitor Should Read Every Word of It 

(By Carl Laemmle) 

There has been quite a split in the Sales company during the past few weeks. We've had 
some exciting times. But as usual the "genuine and original independents" won out. 

When the split came we found all the old independents lined up shoulder to shoulder 
presenting an unbroken front against the assaults of newcomers who wanted to raise 
merry hell in the independent ranks. 

"The Old Guard" 

To protect independent exchanges and independent exhibitors, these "old timers" lined 
up together:— Charles Baumann of the Bison; "Bill" Swanson of the Rex; David Horsley 
of the Nestor; P. A. Powers of the Powers; and your humble servant, Carl Laemmle 

Big Grab Prevented 
The whole thing was an attempted grab. Men who had a desire to get-rich-quick tried 
to gain control of the Sales company in order to convert it into an organization that 
would have been inimical to the exhibitors. 

If they had succeeded the exhibitor would have been worse off than ever in the history of 
the business. He would have been compelled to take orders instead of giving them. He 
would have been the slave of the film makers instead of their boss. 



The Blunder 

The mistake that the would-be grabbers made consisted of attempting tc > bulldoze "the 
old guard." They evidently forgot that the original independents who made the inde- 
pendent business safe and sound had gained their strength by playing square with the 
exhibitors and by fighting his battle for him, year in and year out. 

The Result 

what "the old guard" has always done and always will do. 

other in politics, we can now devote our undivided time to the improvement ot Quality. 

The Program 

us, acting along as an individual manufacturer, could not have afforded. 

My Message to You 

I have never given you a wrong tip yet, I have given you hundreds of good ^^^^^'^^ 
took advantage of them. The best advice I ever expect to g.ye you is this.— Stick to tne ong. s 

pendents. Stick to "the old guard"-the men who comprise the •UmyersaL f . 

These men have brains enough to know that their success depends upon your success, ny «■"»« > 

will takTcare of themselves afterward. Demand the Universal program, not spasmodically but ALL the time. 

We heartily endorse everything Mr. Laemmle has said above and P^^^UmThe"^ ^"^ *•' " "&" 
that we will guard their interests in future even more than we have been able to in the past. DAVID HORSLEY 



I 



THE ADVENTURES OF MR. ALMOST BUTT 

CoBvnekt 1912 Oarl Uammls f 



Copyngfrt 1912 Cir] Laemmle 



He ALMOST Gets a Great Moving Picture THis Time, BUT — 




ttl^ ftvu^l^l' 1S wort ^ more to y° u ever y wee 'fc th an we as ^ \A/Viir^ 

* *M3 IIIIJJICI y 0U t p a y fo r a whole yearns subscription. * * "J • 

( 1 .) Because by tearing out the right hand pages and hanging them in your lobby you attract scores of 
extra people into your house. These pages are a permanent feature of The Implet. 

(2.) Because The Implet contains authoritative news of future Imp releases before you can find such news 
anywhere else. This helps you deal knowingly with your exchange. 

(3.) Because the pages of The Implet are a great help to you in preparing your advertising, whether in 
newspapers, dodgers, heralds or otherwise. 

(4.) Because The Implet has better ways of securing real news and reliable information about the moving 
picture business than any publication in the world and we intend to use that advantage to your benefit. 



(5.) Because The Implet curries favor nowhere, except with 



you. 



It is a "free press" in the highest 



sense of the word ; free from fear ; free from restraining influences ; free to give you the straight, 
honest truth every week, and in advance of all others. 

Fill the enclosed blank and send 
it with the correct sum of money 
NOW. It's a small investment 
but the best you can make. 
Carl Laemmle never gave you a 
wrong tip in any paper. It's all 
the more certain that he won't 
in his own, The Implet! 



IMP FILMS CO. 

102 West 1 01 st Street, 


New York, 


N. Y. 
















Gentlemen :— Enclosed find 


$ 


for which 


enter 


my 


subscription 


to 


The 


Implet 


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years. (The price is $ 1 .00 per year.) 


















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THE CHILD AND THE PICTURE 



M 









r^— 'Z 



a<g 






Ever since the Imp picture took its place 
in the forefront of Independent releases it has 
maintained one striking characteristic untar- 
nished — it is clean; it always was clean; it 
always will be clean. 

The very first Imp release was on the idyllic 
theme, "Hiawatha." This is one of the pretti- 
est, cleanest poems in the English language. 
It is loved by men, women and children for 
its beauty and cleanness of thought, being by 
Longfellow, one of the poets of the home. 
Longfellow never wrote a line that wouldn't 
stand the test of the most rigid examination 
as to clearness and cleanness of thought. 

So, ever since "Hiawatha," the Imp has en- 
deavored to abide by this ideal. Nobody can 
name a single Imp release that designedly at- 
tacked the moral sensibilities of any one. 
Neither man, woman nor child can point the 
finger of scorn at any single Imp picture in 
this respect. As we said a week or so ago, 
we do not always produce masterpieces. It 
is not within the power of any manufacturer 
on earth to do that. Anybody familiar with 
the business knows that while the average of 
quality in film-making must be high, it may to 
some extent fluctuate, and ebb and flow. That 
is to say, a "Shamus O'Brien" and a "Lady 
Audley's Secret" are not producible every day 
in the week. 

The exhibitor, therefore, and through the 
exhibitor the general public knows and feels 
that the Imp picture has this valuable char- 
acteristic — that it always serves up a good, 
clear, moral story without any undesirable 
It is not necessary to dot the 
the t's in film stories ; it is not 



necessary to insist upon the grosser details of 
human life. 

We are taking great pains to insist upon this 
attribute — cleanness and clearness — in Imp 
films just now, because we see by the volumes 
of newspaper clippings that reach us every 
week that the film generally is still being at- 
tacked by many well-meaning, but we think 
misguided, people, as harmful to little ones, be- 
cause it shows how easily crime may be com- 
mitted. 

We think these attacks are somewhat be- 
lated. Generally speaking, the American-made 
film to-day is free from the reproaches that 
were cast at it a few years ago; at any rate, 
it is vastly cleaner than the European prod- 
uct that finds its way to this country, and 
which in so many cases has to be severely cut 
before any sensible film concern will release 
it on this market. Still there are these at- 
tacks, just or unjust, and they have to be 
dealt with. 

We think every reader of "The Implet" can 
do much towards destroying whatever remain- 
ing antipathy there may be to the film in the 
minds of these goody-goody people by 
singling out the Imp films as having the price- 
less attribute of cleanness of theme as well as 
clearness of narrative. 

Help the Imp in this respect, Mr. Exhibitor, 
and you will help the picture generally, and in- 
cidentally yourself. 

Insist that the Imt> films are clear and in- 
nocuous in theme. 

And more, whenever you come across an at- 
tack on films generally in your local paper, 
send it to us, and we will deal with it. 






& 



/:-. 



JMWvf 
S'4\» v«;4. 





'.'!& 







"THE IMPLET" 



CJje "Smplet" 

The Moving Picture Newspaper 

Edited by THOMAS BEDDING 

COPYRIGHT 1912 BY IMP FILMS CO. 

Published at 102 W. 101«t St., New York 

SUBSCRIPTION PRICE, 91-00 PER YEAR 
SINGLE COPY. 5 CENTS 

The announcement that the Imp 
Films Company is to follow up the 
highly successful two-reel picture, 
"Lady Audley's Secret," with another 
two-reel photoplay of a similar na- 
ture, will not cause surprise. "Lady 
Audley's Secret" is one of the most 
successful and best-acted pictures seen 
in an American moving; pictuie theatre. 

Jane Fearnley, King Baggot, Wil- 
liam E. Shay, to say nothing of W. R. 
Daly, scored the successes of their 
moving picture careers, so far, in 
"Lady Audley's Secret." 

The successor of "Lady Audley's 
Secret" chosen by the company is, 
"It Is Never Too Late to Mend," 
which is slated for release in the near 
future. 

"It Is Never Too Late to Mend" is 
a magnificent Anglo-Australian novel, 
written by the late Charles Reade, one 
of the most renowned and powerful 
English novelists of the last century. 
It deals with life and adventure in 
Australia and in England, and is as 
full of intense thrills as "Lady Aud- 
ley's Secret." 

Further particulars of this release 
will be given from time to time. 

Early in July The Imp Films Com- 
pany will release a feature picture in 
which the rivalry of two college row- 
ing crews will be prominently depict- 
ed. For the making of this picture 
the Imp Films Company has been for- 
tunate in securing the exclusive serv- 
ices of J. S. Rice, the famous Colum- 
bia coach. Mr. Rice has placed his 
technical and sporting knowledge at 
the disposition of the Imp Company, 
and has undertaken not to work in a 
similar picture for other picture manu- 
facturers. 

This film will be the first to take 
the theme of an intercollegiate row- 
ing contest as part of the story, so 
that the Imp Films Company may be 
regarded as pioneers in this particu- 
lar bit of work. 

"The Implet" is glad to acknowl- 
edge the Program Herald of the 
Lyric and Unique theatres in St. 
Johns, N. B. We are glad to per- 
ceive in the last issue some very in- 
teresting announcements with regard 
to Independent progress in the mov- 
ing picture field. 

CASTS OF THE IMP PLAYS. 
"NOTHING SHALL BE HIDDEN." 

(Imp Drama. Release, Monday, June 

10, 1912.) 

Written by Capt. Leslie Peacocke. 

Produced by E. J. Le Saint. 

Boyd Stanhope Gordon Sackville 

Lillian Stanhope. . .Margarita Fischer 

Fred Langdon Harry Pollard 

Mrs. Langdon Louise Crolius 

Sergeant Dillon Edward Lyons 

„ ' ~ , Eugene Kellv 

Two Crooks Ha K roM Wdl 

"LET NO MAN PUT ASUNDER." 

(Imp Drama. Release, Thursday, June 
13, 1912.) 

Written by L. G. Coover. 

Produced by Otis Turner. 

John Stevens King Baggot 

Ellen Stevens Edith Haldiman 

Frank Downing W. R. Daly 

Edna Downing Violet Horner 

Tommy Downing. .Master Joe Moore 

"HOW SHORTY WON OUT." 

(Imp Comedy. Release, Saturday, 

June 15, 1912.) 

Written by S. A. Dee. 

Produced by Herbert Brenon. 

Shorty J- R- Cumpson 

Betty Vivian Prescott 

H. S. Mack 
Fred Kelsey 

Colleee Boys J ack D i llon 

college coys g Griffin 

H. Harlow 
Jack Elberg 



CHICAGO CONVENTION 



Arrangements are being made to 
run two special trains to the Chicago 
Motion Picture Exhibitors' League 
Convention, to be held at Chicago be- 
ginning the second Tuesday in Au- 
gust, 1912; one to start from New 
York City by way of Phialdelphia, 
Baltimore, Washington, Huntington, 
W. Va., Cincinnati, Indianapolis, Chi- 
cago. The other trains: One will 
leave as follows: Albany, New York, 
going through Buffalo, Erie, to Cleve- 
land. The train leaving Pittsburg, 
Pa., going through Youngstown to 
Cleveland, will join the Albany train 
at Cleveland, and from Cleveland 
through Sandusky, Toledo, South 
Bend to Chicago. These special trains 
will be solid Pullmans, and will be fully 
equipped for the convenience and 
pleasure of the Motion Picture Ex- 
hibitors. All exhibitors in adjoining 
territory will be notified of the sched- 
ule of the trains. Every exhibitor in 
the United States and Canada is 
invited to attend the Chicago Con- 
vention. Big preparations are being 
made for the accommodation and en- 
tertainment of visiting exhibitors. 

Arrangements have been made with 
the La Salle Hotel, where headquar- 
ters will be established; two large 
halls will be at the disposal of the ex- 
hibitors. The entire eighteenth floor 
of the La Salle Hotel will be devoted 



to those who wish to make exhibits. 
All of those who intend displaying 
their goods at the convention, are 
advised to write the La Salle Hotel 
and make arrangements for reserva- 
tion at an early date. Headquarters 
of the Local Committee at Chicago 
has been established on the third floor 
of the Orpheum Building Theatre. 

M. A. Neff, President of the League, 
will make a trip East in the interest 
of the Motion Picture Exhibitors' 
League of America, for the purpose of 
organizing state organizations and 
promoting the interests of the Chicago 
State Convention. 

The following is the Chicago Exec- 
utive Committee on Arrangements: 
W. J. Sweeney, Chairman; R. R. Levy, 
C. L. Hull, C. C. Whelan, C. A. An- 
derson, S. I. Levin, I. Natkin, C. 
Abrams, F. Schaeffer, J. A. Olcock, 
H. A. Hill. Every member of the 
Moving Picture Exhibitors' League of 
America will please give the Chicago 
Convention as large publicity as pos- 
sible. We confidently expect not 
less than four thousand exhibitors to 
attend the convention at Chicago. 

A.s evidence of the great interest 
being taken in the League organiza- 
tion, many new States are making ap- 
plication for new membership and the 
Cincinnati headquarters is a beehive 
of activity. 



STATE AND LOCAL NEWS. 



THE CONVENTIONS: 

The Ohio State League is in a very 
prosperous condition. Cincinnati Lo- 
cal held a meeting at the Sinton Hotel I 
Monday, May the 13th. M. A. Neff 
presented a part of the new code \ 
which is being drafted and so far as 
it was complete was adopted. At the i 
next meeting the full code is expected 
to be read. 

The Moving Picture Exhibitors' 
League of America, Cincinnati Local, 
No. 2, raised $400. They decided to 
always keep a fund at all times in 
their treasury not less than $500, in 
order that the interests of the Local 
might be efficiently looked after. 

The State Organization of Ken- 
tucky reports many new members. G. 
M. Wesley, organizer for the State of 
West Virginia, reports that all of the 
exhibitors in West Virginia are join- 
ing the League. 

Indiana will hold a convention in 
the near future. They expect a very 
large attendance. 

The Ohio State Convention is to be 
held at Toledo on the 16th and 17th of 
July. Toledo confidently reports that 
they will break all former records 
and show the boys just how to handle 
a convention. 

Very truly yours, 

M. A. NEFF, 

President, M. P. E. L. of A. 



POPULAR 
PICTURES 



OF IMP 
STARS 



The 
Sn 
of the 



Only 

50c. 

SET 




1^? 




NOTHING SHALL BE HIDDEN 

A STORY OF SCIENTIFIC SECOND SIGHT 



Copyright 1912 by Imp Films Company 




^......^-a^taWB*- 




u 










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A young inventor by an ingenious device protects the house 

of a friend from robbery and so wins the hand 

and heart of his friend's daughter. 

IMP FILMS COMPANY 



6-10-12 



tf HKEE IMPS 

^mi WEEK* 



102 West 101st Street, New York Carl Laemmle, Pres. 



'EVERY WEEIT. 



"THE IMPLET" 



"Nothing; Shall Be Hidden." 

(Imp Comedy Drama Release of 

June 10, 1912. 

CAST OF CHARACTERS. 

Boyd Stanhope Gordon Sackville 

Lillian Stanhope. .. Margarita Fischer 

Mrs. Langdon Louise Crolius 

Fred. Langdon Harry Pollard 

Two Crooks Harold Weil 

Eugene Kelly 
Sergeant Dillon Edward Lyons 

When a man is in love with a girl, 
and a stern father forbids the match 
then comes, not a tug of war, but the 
difficulty of solving a problem, which 
no true lover admits to be unsolvable. 
Is it not proverbial currency, that any 
man can marry any woman if he only 
knows how? 

Fred Langdon was turned down 
by the courtly Mr. Boyd Stanhope, 
who was so proud of his beautiful 
daughter, Lillian, that he had worked 
out for her a career of ease, to be ob- 
tained by means of a rich husband. 
Fred was not rich in money, but he 
was rich in expedients. He was an 
inventor, and he turned his inventive 
faculties to winning the girl he loved 
by the consent of her obstinate, aris- 
tocratic father. 

Fred experimented along trans- 
mission of sound and light ideas. One 
day, wishing to get into communica- 
tion with the Stanhope residence, per 
the harmless, necessary telephone, he 
discovered, through the medium of 
the invention on which he was work- 
ing, that there were unaccustomed 
sounds occurring in the Stanhope 
home, and those sounds he had no 
difficulty in concluding were the work 
of some industrious burglars who 
were drilling open, or attempting to 
drill open, the Stanhope safe. 



Criticisms of the Imp Films 



Quick as thought, Fred got into 
communication with the police. The 
crooks were stopped at their game at 
the point of the pistol, and Fred, be- 
ing on the spot at the useful moment, 
had no difficulty in winning the con- 
sent of Mr. Stanhope to his marriage 
with Lillian, a condition precedent be- 
ing that the father should have an 
interest in Fred's wonderful invention. 
So all ended as well as could be de- 
sired. 

This comedy drama is extremely 
well staged, the settings being suitable 
and in good taste, and it reflects 
credit on its producer. 

That fine actor, Gordon Sackville, 
makes a welcome appearance in an 
Imp picture, in the character of Boyd 
Stanhope. The crooks are realistic. 
Eugene Kelly and Harry Weil play 
them. Margarita Fischer and Harry 
Pollard, are the lovers. 

"Let No Man Put Asunder." 

(Imp Drama Release of June 13, 

1912.) 

CAST OF CHARACTERS. 

John Stevens King Baggot 

Ellen Stevens Edith Haldiman 

Frank Downing W. R. Daly- 
Edna Downing Violet Horner 

Tommy Downing. . Master Joe Moore 

All concerned in this drama can be 
congratulated upon giving a new turn 
to the eternal drink subject of mov- 
ing pictures. Drink unfortunately has 
to enter into moving picture play be- 
cause it enters into the actual life 
happenings. It is a factor. Ugly as 
drink is, it is seldom a useful moral 
cannot be extracted from the theme. 

Frank Downing goes to the bad by 
the alcoholic route, and his young wife 
cannot stand him any longer. So she 
leaves him and employs her leisure 
moments in getting divorce protec- 
tion. She is a stranger in a strange 



town, where a good-natured master 
Duilder befriends her and slowly but 
surely falls in love with her. 

Meanwhile, it happens that her dis- 
solute husband, Frank, has got into 
the master builder's way, and lie, good 
man, helps the reprobate to get on 
nis legs again. And Frank does so. 
He works nard in the builder's shop. 

Everything seems plain sailing for 
the builder and the fair divorcee when 
the astounding discovery is made that 
her ex-husband is in tne employ of 
her husband-to-be. The latter shows 
remarKable magnanimity in this crisis 
which is witnessed by the little chil- 
dren of both, for tne builder is a 
widower. To the foot of the letter 
he insists upon the validity of the 
divine law that "Whom God hath 
joined together let no man put asun- 
der." So he reconciles husband and 
wife, and pockets his own disappoint- 
ment. 

In the part of John Stevens, King 
Baggot rinds a strong and manly role, 
and shows that on occasion he can 
bring out all the earnestness and 
deptn of such a part. W. R. Daly, 
lorsaking eccentric work for the 
nonce, hnds a strong part in that of 
the reformed carpenter, Frank Down- 
ing. Edith Haldiman plays the little 
girl, and Joe Moore is the capable 
small son of Mrs. Downing. 

This play cannot but fail to convey 
a very useful lesson in the sublimity 
of sacrifice and forgiveness. It is a 
powerful production. 



"How Shorty Won Out." 

(Imp Comedy Release of June 15, 

1912.) 

CAST OF CHARACTERS. 

Shorty J. R. Cumpson 

Betty Vivian Prescott 



College Boys 



Jack Elberg 
H. Harlow 
S. Griffin 
Jack Dillon 
Fred Kelsey 
H. S. Mack 



Shorty for the time being was 
amongst the "also rans," which is to 
say a kind of sort of trailer in the 
procession in the contest for the hand 
of pretty Betty, the college belle. And 
tfetty was a thorough coquette and a 
thorough flirt, but her little heart was 
in the right place. So all the college 
boys to the number of six separate- 
ly invited her out one night. She ac- 
cepted all their invitations. They all 
turned up in evening dress, each 
claiming to be the favored swain So 
Betty left them to themselves to fight 
it out on the sidewalk. They fought 
it out so good and hard that the po- 
lice came along and drove them all 
into a patrol wagon, from whence they 
were soon placed behind the bars. 

Meanwhile, Shorty, having cleared 
the ground of his rivals, had the hap- 
piness of getting the little girl all to 
nimself and claiming victory. 

The settings of this picture are col- 
legiate. It was made in part in one 
of the great New York colleges, and 
the result is to a perfect piece of com- 
edy acting is joined some very fine 
architectural beauties, making the re- 
lease a thing to laugh at and at the 
same time one to admire for its many 
fine settings. 

Johnny Cumpson is "Shorty"; Viv- 
ian Prescott is "Betty," and H. S. 
Mack is at the head of the college 
boys. They are a handsome crowd, 
and it is a bright little picture. 



THE POPULARITY OF IMP PIC- 
TURES. 

This is an article which we are 
writing on the spur of the moment. 
Before us, as we work, are a pile of 
replies to a recent circular sent out 
with "The Implet," asking readers 
which papers they read. We did not 
ask them to say anything about Imp 
films. We did that several months 
ago when we were compiling "Brick- 
bats and Bouquets." As everybody in 
the moving picture business knows, 
the replies that reached us were so 
gratifying and so informative that we 
made up a book on the subject which 
has been circulated in thousands all 
over the world. 

In this pile of replies sent to us 
with regard to the various papers 
comes a whole lot of agreeable infor- 
mation with regard to Imp pictures, 
which we think Imp exhibitors in par- 
ticular, and readers of "The Implet" in 
general, will be pleased to peruse. 

These replies substantiate the claim 
so often made by ourselves that the 
Imp picture is the most popular pic- 
ture in the world. By popular we 
mean that it is the most talked about, 
the most desirable and the most pleas- 
ing to the general audience. 

Read what the exhibitors say of 
them: 

A. L. Porter, Eckhart Mines, Md., 
writes: "Your films are the best 
cards. Our patrons look for three to 
four each week, and we nearly always 
have them." 

F. T. Reid, Millville, N. J., writes: 
"We run two Imps a week, and could 
run more. People here like them. 
Your comedy films take greatly." 

W. H. Pennington, Sigourney, la., 
writes: "I like the Imp films best of 
any on the market, and especially the 
Imp comedies. I know when I put 
an Imp film on the machine that the 
people are going to see something 
good, and know it will run without 
any trouble if the film is a year old." 

Arthur Kramp, Chicago, 111., writes: 
"Imp films are my patrons' favorites, 
and I see that I get them, too." 

H. R. Ferguson, Quitman, Ga., 
writes: "I am running Imp films and 
like them as well as do my audiences." 



Royal Theatre, Red Lodge, Mont., 
writes: "We are very much pleased 
with Imp films and use each release." 

J. D. Rice, Chehalis, Wash., writes: 
"I am using three Imps a week, and 
would use more could I get ihem." 

C. D. Eckloff, Rock Rapids, la., 
writes: "My patrons like uvery imp 
I get. Your comedy is sure good." 

Thomas I. Gibson, East Oakland, 
Cal., writes: "My patrons like your 
pictures better than any others." 

Julius Myers, Charleston, S. C, 
writes: "I expect to open an up-tc- 
date picture house and will certainly 
use imps. No praise too much for 
them." 

J. A. Wright & Son, Irwin, Pa., 
write: "We are running three Imps 
this week and all we can get right 
along." 

Joseph Wopata writes: "The Imps 
are fine, and I want every one of 
them." 

W. C. Thomas, Shamokin, Pa., 
writes: "I ran 'Lady Audley's Secret' 
last night, and it sure is one swell pic- 
ture." 

L. Clement Hanlon, Jr., Deming, 
N. Mex., writes: "I get two and some- 
times three Imps a week, and would 
like to run eighteen a week; they look 
good to me." 

Gem Theatre, Buffalo, N. Y., writes: 
"Ran 'Through the Flames' and it was 
a dandy." 

Victor Theatre, Abbeyville, La., 
writes: "I believe the Imp pictures 
are the best we have ever used; they 
are always interesting." 

George Nether, Covington, Ky., 
writes: "Wish to compliment you on 
your splendid two-reel feature pic- 
tures. Keep up the good work." 

H. N. Turner, Linton, N. Dak.: "I 
run Imp films at least two a week, 
and more if I get them." 

John Colamari, Brooklyn, N. Y., 
writes: "I have an Imp on my pro- 
gram every day or I know the reason 
why." 

Star Theatre writes: "Our patrons 
request Imp films and we get three a 
week. Could use three more. 'Enough 
said.' " 

L. A. Buettner, Cloverville, writes: 
"We run three Imps a week; guess 



we know what's good for our pro- 
gram." 

Claudie Norrie, Algona, la., writes: 
"I use Imp films and they are the 
most popular with our patrons." 

Charles Cokery, Bedford, lnd., 
writes: "I use two Imps eacn week, 
and they are usually very good and 
photography pertect. 1 consider the 
imp tne lavorite of the independent 
makes." 

G. H. Freimuth, Crandon, Wis., 
writes: "An imp him is always wel- 
come in my theatre; tney are certainly 
the most popular of them all." 

George Tiffany, Colorado Springs, 
Colo., writes: ■'imp hlms are cer- 
tainly the best films in my estimation 
on tne Independent side." 

H. E. Archer, Fall River, Mass., 
writes: "lour "From the Bottom of 
the Sea' was most certainly 'one hum- 
mer.' Let us have more. 1 take off 
my hat to Imps." 

Frank Bonk, Jr., Two Rivers, Wis., 
writes: "I get all the Imp releases, 
which are very popular here. Keep 
up your good work." 

Edgar C. Pearce, Winston-Salem, 
N. Y., writes: "Just read in the M. P. 
News about withdrawal ot several 
manufacturers from the Sales Com- 
pany. 1 am going to have my Imps, 
no matter if 1 have to walk and get 
them. You can rest assured 'I want 
Imps 3 to be merrily.' " 

C. C. Kaufmann, Colusa, Cal., 
writes: "Why don't you turn out 
more Imps? Independents need more 
good films like yours." 



picture-making. The acting, stories 
and photography are perfect. Keep 
the good work up. 

Again thanking you, I remain 
Very truly yours, 

FRED LU1BRAND, 

Bay City, Mich. 



FROM IMPLET READERS. 

May 21, 1912. 
To the Editor. 

Sir: Please allow me to give you 
my opinion. If we could have a clear 
and full explanation on each him and 
get more ol those two and three-reel 
subjects, in my opinion we could 
boom the business.- Pictures must be 
explained to get tbe people interested 
in them. Many thanks for sending 
me your valuable (Implet) booklet. 
1 am certainly taken with it. 
Yours truly, 

J. A. MORRISON, . , 
Morrison's Star Theatre, 
Meaford, Ont. 



THE ACME OF EXCELLENCE. 

May 25, 1912. ' 
To the Editor. 

Sir: I wish to thank you for send- 
ing me "The Implet" so regularly. It 
is the finest little motion picture paper 
ever put out. I could not miss a sin- 
gle issue of it. I also wish to thank 
you for the pictures you are now 
turning out. I think your photoplays 
have reached the "highest" point in I 



Dear Sir: Just a line to compliment 
your recent "Acme" release (Acme 
meaning perfection film). Imp fi'- 
have always been popular within/ 
patrons, but now more so than ever, 
lor they seem to be getting EVEN 
better and better from time to time. 
No matter how good a program the 
booker hands me, there seems to be 
something missing unless there is an 
Imp among the four, and a mere Imp 
film has carried an otherwise poor 
program to the passable point many a 
time. "A Leap for Love," "Rescued 
By Wireless," and especially "Through 
the Flames," made an indelible IMP- 
ression upon my patrons, and they all 
join in songs of praise. 

Trusting that future productions are 
a continuation of features, I am 
Yours truly, 

M. B. DONOVAN, 
Acme Amusement Co., 

Portland, Ore. 







LET NO MAN PUT ASUNDER 

HEART MOVING DOMESTIC DRAMA 



Copyright 1912 by Imp Films Company 




A man and his wife are separated through his bad habits 

but are reconciled by the self sacrifice of the 

man who had befriended him. 



6-13-12 



IMP FILMS COMPANY 



ff tfREE IMPS 
^£RY WEEK, 



102 West 101st Street, New York 



Carl Lammml: Pre: 



tBBM imps 
■ EVERY WEEK. 



"THE IMPLET" 



THEAWENTTJKES OF MR. ALMOST BUTT 

Carynfita-1912,Qarl ^tamlt f 

He ALMOST Gets a Great Moving Picture This Time, BUT — 



HOME I'LL Js / / \~~-^SX__r*$ 





THIS Sup.E 
IS eotse- TO 
8€ SOM€ 
Fic_n\ 





•f: i NB»ue 



IMPLET MAIL BOX. 



Brown's Patent. — Inquirer asks us 
if we can give him any particulars of 
a moving picture patent granted to 
one Brown in the year 1869. Brown 
was alleged to have made a non-in- 
fringing camera at or about the date 
mentioned. 

In reply: We have searched the 
records and cannot find any mention 
of the said Brown. Do any of our 
readers know anything about this pat- 
ent, which is said to have covered the 
present modern Kinematograph ma- 
chine, both for taking and projecting? 

Muybridge's Work. — James Ran- 
some writes: "I see that many writers 
ascribe the invention of motion pic- 
tures to Muybridge. Is this correct? 

In reply: It is doubtful if the late 
Edward Muybridge gave the small- 
est attention to moving picture mat- 
ters, as we understand them to-day, in 
the work attributed to him. Muy- 
bridge was a California photographer, 
who undertook by means of photog- 
raphy to analyze the movements of 
horses in motion. This he did with 
a number of cameras, before which 
the horses passed against a white 
background. Prior to this date, art- 
ists had been in the habit of painting 
horses as progressing, while going at 
a high rate of speed, in a particular 
way. Muybridge demonstrated, by 
means of photography, that the beau- 
tiful, sweeping motion attributed to 
horses by painters and draughtsmen 
was an optical delusion. Muybridge 
died at Kingston, England, in the 
year 1904. 

Index of "The Implet"— Subscriber 
wants to know if there will be an in- 
dex to "The Implet." 

In reply: Yes; an index to the first 
volume of "The Implet" will be pub- 
lished in No. 27. 



"Lady Audley's Secret." — Elsie 
Cary writes: "I did so much admire 
this Imp picture! You said it was 
founded on an English novel. Is the 
book published in this country?" 

In reply: Yes; any book-seller will 
procure the novel for you; it will 
probably cost 25 or 50 cents. 

Political Imps. — C. Senio asks: "Are 
you likely to be releasing any Imp 
pictures dealing with the Presidential 
election?" 

In reply: It is probable. 

"Yellowstone Pictures." — Naturalist 
writes: "I very much admired the 
"Yellowstone Pictures which you have 
recently released. Having read they 
are part of a series, would be glad to 
know when the next release will be 
put out." 

In reply: Very shortly. We are al- 
ways glad to hear from our exhibit- 
ing readers as to what kind of pic- 
tures they like to see issued by the 
Imp. 

Naval Pictures. — Salem man writes: 
"Notice you have released several 
military pictures these last few 
months. Now, me for 'Uncle Sam's' 
navy. Are you likely to give us any 
pictures dealing with it?" 

In reply: Very likely. We have a 
note of the idea on file. 

"The English Stag Hunt."— Several 
readers write in admiration of the very 
fine Imp picture showing an English 
stag hunt, and express a desire to see 
some American hunting pictures. 

In reply: We shall probably be 
handing out the goods in due course 

Cast of Characters.— M. Duane 
writes: "Kindly give name of player; 
in 'From the Bottom of the Sea.' " 

In reply: E. J. Le Saint was the 
captain; William E. Shay, the lieuten- 
ant; Farrell Macdonald, the German 
officer, and Ethel Grandin was the 
captain's daughter. 



Miscellaneous. — S. B. S. asks: (1) 
"Can an amusement company located 
in the same city with the same gener- 
al manager and same directors run li- 
censed films at three strictly motion 
picture houses and run independent 
pictures in connection with vaudeville 
at another one of their houses? (2) 
If this is allowed to go on, is this not 
an open market?" 

In reply: (1) Yes. It is very fre- 
quently done. (2) Practically. 

Cast of Characters. — C. F. writes: 
"Kindly settle this little dispute. Did 
King Baggot play the lead in 'The 
Minor Chord > ? I say no." 

In reply: You are wrong this time 
Mr. Baggot did play the lead in this 
picture. 

Cast of Characters. — W. E. B. asks: 
"Kindly give me name of the actress 
playing 'Maid Purity' in 'The House 
that Jack Built.' Also, who was in 
the role of 'Prince Charming.'" 

In reply: Miss Ethel Grandin 
played "Maid Purity" and H. S. Mack 
was "Prince Charming." 

Cast of Character.— C. G. P. C 
asks: "Who played the part of the 
coachman in 'The Maid's Strategem,' 
and was he ever with the Biograph 
Company?" 

In reply: Mr. Jack Dillon played 
the part of the coachman. We are 
unable to say if he was ever with the 
company mentioned. 



"The Implet" desires to acknowl- 
edge from the Gem Theatre, Van- 
dalia, Mo., a number of cuttings from 
the Vandalia Mail, in which we per- 
ceive that Imp literature figures large- 
ly. This is the kind of thing we com- 
mend to other exhibitors — to make all 
the use possible in their own newspa- 
pers of Imp literature. 



THE SALES COMPANY'S PRO- 
GRAMME. 

Sunday — Rex, Itala. 

Monday — Imp, Nestor, Champion. 

Tuesday — Gem, Bison, Rex, Rep. 

Wednesday — Powers, Nestor, Cham- 
pion, Weekly. 

Thursday — Bison, Rex, Imp. 

Friday — Victor, Ambrosio, Nestor. 

Saturday — Imp, Powers, Bison, 2- 
reel Rep. 

Florence Lawrence appears in Vic- 
tor releases. The one-reel Bisons are 
made by the famous "101" stock com- 
pany, to which has been added addi- 
tional directors and actors. 

The Gem films are being produced 
by George Nichols, recently director 
for the Thanhouser Company, and 
prior to that with the Biograph Com- 
pany. 



Real Photographs 

of 

Imp Players 

We have for disposal a few real photo- 
graphs (that is beautiful surface prints) 
of some of our Imp players. Thera is 
W. R. Daly represented on a 9x7 picture, 
and H. S. Mack also a 9x7. The number 
of these photographs is limited. They 
are as good as the celebrated theatrical 
photographer, White, of Broadway, can 
make them. We are selling them at 15 
cents each. Send your orders, and the 
money to cover cost, to the Imp Films 
Co., 102 West 101st Street, New York 
City. 



HOW SHORTY WON OUT 

AN AMUSING COMEDY OF COLLEGE COURTSHIP 

Copyright 1912 by Imp Films Company 



''>""-" 



Shorty had many rivals for the hand of Betty, but he out- 
wits them and lands them all in jail, whilst 

he makes sure of the girl, 61512 

On the same reel: BULL FIGHT IN NUEVO LAREDO, MEXICO 

IMP FILMS COMPANY 



r 7JBBEC IMPS 



102 West 101st Street, New York 



Carl Laemtnle, Pre*. 



i £BR££ IMPS 
'EVERY WEEK\ 



"THE IMPLET" 






The Stories of the Imp Films 



-y 




"NOTHING SHALL BE HIDDEN." 
Monday Imp Release, June 10, 1912. 

Approximate Length, 1,000 Feet. 
(Copyrighted, 1912, by Imp Films Co.) 

Fred Langdon, a young inventor, 
has a sweetheart, Lillian Stanhope, 
who returns his affections, but there 
is a parental objection. Fred is poor, 
and Mr. Stanhope has ambitious 
schemes for marrying his daughter to 
a man of present wealth and posi- 
tion rather than to one whose wealth 
and position are probably still in the 
making. So he parts the young peo- 
ple. 

However, Fred is assiduous in his 
work, and in the course of it makes 
one or two important scientific dis- 
coveries with regard to the transmis- 
sion of sound and light waves. Call- 
ing up his still loyal sweetheart, he 
makes the discovery that at that mo- 
ment Mr. Stanhope's house is being 
ransacked by burglars. So Fred 
calls up the police station, and the 
burglars are captured. Fred made 
his discovery in virtue of the fact 
that he could hear what was taking 
place in the room, although there was 
no direct telegraph connection. 

The burglars, having been captured, 
and Mr. Stanhope becoming aware 
of Fred's usefulness in the matter, 
offers to buy an interest in the in- 
vention, but the young lover told him 
nothing short of his daughter's hand 
would buy any part of it. Mr. Stan- 
hope, anxious to get in on the mar- 
velous invention, and realizing that 
his daughter was more than willing to 
trust herself to Fred Langdon, gave 
his consent to the union. 



'LET NO MAN PUT ASUNDER." 



Thursday Imp Release, June 13, 1912. 

Approximate Length, 1,000 Feet. 
(Copyrighted, 1912, by Imp Films Co.) 

Drink is fastening its arms around 
Frank Downing; he has broken prom- 
ise after promise made to his wife to 
reform, and she in despair appeals to a 
friend, who endeavors to persuade 
her to leave and accept a position as 
teacher in the village school in a 
distant part of the "State. One night 
Downing comes home helpless, having 
spent his week's wages for drink, 
and there is no food in the house for 
Edna and the boy, Tommy. This de- 
cides the question, and Edna and 
the little boy leave the degraded man 
to e:o forth into the world and earn 
their living. 

Upon arriving in the village where 
her school is located, Edna meets and 
inquires the way of John Stevens. He 
is a widower and is devoted to his 
little daughter, Ellen, to whom he 
is both father and mother. Through 
this chance meeting a friendship is 
established between Edna and John, 
which grows stronger and stronger 
as time passes, until John discovers 
that he loves her very dearly and asks 
her to be his wife. Edna then ad- 
mits her love and' confides her story 
to him. He is willing to wait until 
she can secure a divorce. 

During vacation Edna and Tommy 
return io their old home town, and 
here she secures her freedom. And 
now queer fate enters the picture. 
While she is away a man, a wreck 
and practically a tramp, is arrested in 
the village and tries to dispose of 
some carpenter tools, which are rec- 
ognized as being the property of John 



Stevens. The man is Downing. He 
is taken to Stevens' shop in order 
that the tools may be identified. 
Downing makes an appeal to Stevens 
— the appeal of desperation — and 
John, who is touched, saves the man 
from the law's grasp by stating_ he 
is a new workman whom he has just 
employed. 

Downing is put to work, and Stev- 
ens helps him to fight his curse. Fi- 
nally he is reclaimed and becomes a 
man in fact. 

Edna returns to the village full of 
hope, and Stevens, still ignorant of 
the relations that once existed be- 
tween her and the man he has saved, 
is awaiting her with all a true lover's 
impatience. Edna enters the shop and 
comes face to face with Frank. And 
thus does John learn the truth. The 
situation appalls all — all but John, a 
man who knew his God and knowing 
Him abided His will. He joins their 
hands, saying: "Whom God hath 
joined together let no man put asun- 
der." Downing, with the past before 
him, refuses the sacrifice and endeav- 
ors to leave, but John stops him. "It 
is God's will," he says, and the re- 
united husband and wife pass out of 
his life together. 



'HOW SHORTY WON OUT." 



Saturday Imp Release, June 15, 1912. 

Approximate Length, GOO Feet. 
(Copyrighted, 1912, by Imp Films Co.) 

This is a story of college life in 
which the demon of jealousy enters 
into the academical life of the stu- 
dents. The various scenes are ac- 
tually taken in and around a colle- 
giate building, and an idea is given 
of the lighter side of life that is led 
in high-grade educational centers. 

Shorty, like all freshmen, is com- 
pelled to perform many little serv- 
ices for the sophomores, juniors and 
the seniors of his college, and while 
serving one of his classmates he meets 
charming Betty Rossmore. and imme- 
diately falls in love with her. 

His bliss is not of long duration, 
however, as his upper classmates 
force him to introduce them to the 
pretty girl, and then he is left out in 
the cold. A junior promenade ball is 
to be given from which poor Shortv. 
being only a freshman, is barred. Six 
students invite Betty to this affair, 
while Shorty invites her to a dinner. 

Betty, hoping to have some fun, ac- 
cepts each and every invitation. The 
six. one after another, drive up in 
their automobiles and enter the 
house. Such looks are exchaneed as 
each comes into the room. Finally 
Bettv appears, shaking with suppres- 
ed laughter. Then Shorty walks in 
on the scene, and triumphantly leads 
Betty from the room and house: they 
enter his auto and speed away. 

The disappointed boys, however, 
have a mix-up on the pavement to 
decide who shall escort Betty, not 
realizing that she has vanished with 
Shorty. A policeman is called, and 
the six are bundled into a patrol 
wagon and hurried off to jail. There 
they meditate on jjhjfr perversity of 
woman, while Betjf^jhtk Sioyyfrare 
enjoying their dinner. 



"BULL FIGHT IN NUEVO 
REDO, MEXICO." 



LA- 



Saturday Imp Release, June 15, 1912. 

Approximate Length, 400 Feet. 
(Copyrighted, 1912, by Imp Films Co.) 

On the occasion of Washington's 
Birthday, which was celebrated in 
Laredo, Texas, in February, there 
was included among the festivities at 
Nuevo Laredo Mexico, just across 
the border, a bull fight, which was 
very largely attended by those who 



took part in the celebration. The vari- 
ous scenes attendant upon this form 
of sport as shown in the picture have 
no trace of cruelty or brutality. 

Two or three sturdy bulls are 
turned into the ring, and beset by 
the nimble picadors, matadors and 
others, whose duty it is to irritate 
the animals and escape risk of assault 
by their horns. 

The picture is vivid in the extreme, 
but stops short of actual carnage, al- 
though in one part of it the bull is 
seen in the last extremity of his life. 
But there is nothing degrading or 
revolting in the picture, which is of a 
very sporting nature and illustrates 
the natural pastime of some Latin 
countries. 



"FANCHON, THE CRICKET." 

(Monday Imp Release, June 17, 1912.) 

Approximate Length, 1,000 feet. 
Copyrighted 1912, by Imp Films Co. 



Fanchon, is a fascinating little girl, 
the grandchild of Mother Fadet, who 
is suspected of witchery by the people 
amongst whom she lives. At the open- 
ing of the story, Mother Fadet is be- 
ing attacked by a crowd led by Father 
Barbaud, the father of Landry and 
Didier, his twin sons; the former a 
handsome and bright lad; the latter a 
little weak and foolish. 

The old woman is about to be 
beaten, when Fanchon arrives, and she 
also is beset by the men, and both 
are in danger until Landry appears 
on the scene and upbraids the mob. 
He is attracted by the beauty of the 
little mad-cap, who thanks him as he 
leaves her. 

The foolish Didier is in love with 
Madeleon, the belle of the village, who 
scorns him, and who is in love with 
the handsome brother. Didier is 
heart broken and tells them, he is go- 
ing to commit suicide. He rushes 
away, but is prevented from carrying 
out his intentions by Fanchon, who 
follows him, until he, tired, falls 
asleep in a clump of bushes. Landry 
seeks everywhere for his brother, 
even asking aid of the witch. She re- 
fuses to assist him, but meeting Fan- 
chon, he asks for her help. This she 
promises if he will agree to dance, 
whatever dance she may select, at the 
fete to be held the next day. He 
anxious to find his brother, consents, 
and she leads him to the spot where 
Didier sleeps. 

The next day while the festivities 
are in progress, Fanchon, dressed in 
the old fashioned clothes of her 
grandmother, appears and demands 
her dance with Landry. This, he is 
dancing with Madeleon, but being a 
man of his word, he asks her to ex- 
cuse him and takes Fanchon as his 
partner. 

Madeleon, angered at the manner in 
which Landry has treated her, tells 
the others that Fanchon has be- 
witched him by the aid of a witch's 
claw she always wore around her neck 
in a bag. She incites the mob, and 
they attack Fanchon, demanding to 
see the charm she wears. This she 
hands to Landry, who reads on the 
paper he takes from the bag, "THE 
PRAYER OF THE PURE MAIDEN 
'TO THE HOLY MOTHER OF 
GRACE." Abashed, the mob leaves 
the unhappy little girl, who rushes 
home and tears off the clothes which 
she feels are the cause of her misery. 

To get away from Landry, whom 
she now loves, she accepts an offer 
to go to the city, although he begs 
her to remain and marry him. Later 
the grandmother dies and appoints 
Landry's father as her guardian. She 
returns to her home, and going to 
Father Barbaud, asks him if he will 
accept the charge. At first he. refuses, 
but realizing that the happiness of his 
son depends upon his marriage, to the 
now demure Fanchon, he consents, 
and the formerly despised madcap has 
the pleasure of seeing the old gentle- 
man beg her to marry his son. Need- 
less to say, she does. 



"THE SCHEMERS." 

(Thursday Imp Release, June 20, 

1912.) 

Approximate Length, 1,000 feet. 

Copyrighted, 1912, by Imp Films Co. 



Arthur Dennison, the only son of a 
wealthy man selects the stage as his 
profession. His father strongly ob- 
jects to his choice, and arguments 
proving unavailing, finally threatens 
to disinherit him should he persist ift. 
his determination to enter the dra- 
matic field. Lucy, Mr. Dennison's 
adopted daughter pleads for her 
brother, but the father remains firm, 
and Arthur leaves home. 

While he is absent, Mr. Dennison 
comes under the influence of a clever 
adventuress, with whom he falls in 
love, and unable to resist her fasci- 
nating wiles, settles his fortune upon 
her. 

Through this woman's scheming, 
Lucy, is driven from home, and she 
writes Arthur to return and save his 
father from ruin, for he is induced to 
make bad investments by the woman 
and her brother. 

Arthur hastens home and finally 
succeeds in opening his father's eyes 
to the true character of the schemers. 
Mr. Dennison, realizing what a ter- 
rible mistake he has made, forgives 
the boy and willingly consents to his 
marriage with Lucy. Thus, Arthur 
wins a bride and a prospective fortune. 



"CLOWNLAND." 

(Saturday Imp Release, June 22, 

1912.) 

Approximate Length 400 Feet. 

Copyrighted 1912 by Imp Films Co. 

Boyland — Girland — Clownland. who 
of us has not had our dreams of all 
three. This film will rejuvenate the 
elders and rejoice the youngsters. 
Tt depicts in simple sequence, the 
heartaches and jovs of a poor, little 
new=bov, who seeing a circus parade 
is filled with loneing to witness the 
wonderful deeds performed within the 
tent. 

The small newsy finds himself 
on the great day without sufficient 
money to purchase a ticket, owinsr to 
a <=lump in trade. He sobs himself to 
sleep on the steps of his humble 
home — and the dream-fairies escort 
Hm to clownland. While he sleeps, 
^e is conveved to the sta^e of the cir- 
rus and placed in the chair of the 
"TC}ng". where dressed in the roval 
robes, he commands the downs to 
Hanrf and nerform their sneeial tricks 
for him. These to the delighted child, 
are marvelous indeed. Finally, with 
a puff of smoke the "King" vanishes. 

The dream is over, and Teddy 
awakes, a disappointed little boy. 
Picking up his bundle of papers, he 
wends his way once more towards the 
enchanted spot, and gazes forlornly 
at the b'11-boards. A kind hearted 
stranger in passinsr, notices the boy, 
and realizing how much such an 
event mennt to him in his boyhood 
days, hands Teddy the price of a tic- 
ket. The bov is surprised and wild 
with jov. Thankinqr the doner for 
his goodness, and waving his cap in 
the air, he rushes away to join the 
merry throng entering the canvas, 
where he will see his dream realized. 



'PRINTING UNCLE SAM'S PA- 
PER MONEY." 



(Saturday Imp Release, June 22, 1912.) 

Approximate length, 400 feet. 
Copyrighted, 1912, by Imp Films Co. 

This film is exceedingly graphic 
and interesting as well as instructive. 

Special facilities _ were granted the 
company for making the picture in 
the Bureau of Engraving at Wash- 
ington, and the films show the entire 
process from start to finish. Besides 
illustrating the actual printing of pa- 
per money, stamps, etc., used in cur- 
rency, it also shows the method 
adopted for the destruction of defaced 
bills. 



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